X 


.)___  i 

PROGRESSIVE 
LESSONS  IN 
NEEDLEWORK 

JOHNSON 


x  \\X\\\  \\V\\ - 


This  book  is  DUE  on  the  last  date  stamped  beloi 


1926 


PROGRESSIVE    LESSONS 


IN    THE 


ART  AND  PRACTICE  OF  NEEDLEWORK 


FOR   USE  IN  SCHOOLS. 


BY 

CATHERINE    F.    JOHNSON. 


SECOND    EDITION,    REVISED. 


BOSTON : 

D.  C.    HEATH   &  CO.,  PUBLISHERS. 
1895, 


COPYRIGHT,  1893, 
CATHERINE  F.  JOHNSON. 


Xorluooti  }prcss  : 

J.  S.  Gushing  &  Co.  —  Berwick  &  Smith, 
Boston,  Mass.,  U.S.A. 


TT 

a\  o 


PREFACE. 


DURING  several  years'  experience  in  teaching  sewing,  I  felt  the  need 
of  a  text-book  which  would  explain  needlework  from  its  rudiments  and 
give  directions  for  practical  demonstration  in  class  work.  For  my  own 
use,  I  planned  a  course  of  instruction  for  the  pupils  of  the  W.  H.  Lincoln 
School,  Brookline.  Its  use  has  given  such  satisfactory  results  that  a 
demand  has  arisen  for  its  publication. 

For  valuable  assistance,  sincere  thanks  are  due  to  Miss  Marion  S. 
Deveraux,  First  Superintendent  of  the  South  End  Industrial  School,  Rox- 
bury,  Mass. ;  Mrs.  Joshua  Crane,  Member  of  the  School  Board,  Brookline, 
Mass.  ;  Miss  Florence  M.  Starbuck,  Teacher  of  Drawing,  South  End  Indus- 
trial School,  Roxbury,  Mass. ;  and  Mr.  Arthur  R.  Wilmarth,  Photographer, 
Jamaica  Plain. 

C.   F.  J. 

JANIAICA  PLAIN,  MASS.,  April  9,  1893. 


INTRODUCTORY    NOTE. 


IT  gives  me  much  pleasure  to  say  that  I  have  seen  the  method  of 
teaching  the  theory  and  practice  of  sewing,  as  set  forth  in  this  book, 
grow  up  in  the  public  schools  of  Brookline,  Mass.,  and  can  testify  to 
the  excellent  results.  The'  pupils  have  not  only  learned  to  sew  well, 
but  their  study  of  drawing  and  English  has  been  so  combined  with  the 
instruction  in  sewing  as  to  make  it  the  foundation  of  an  excellent  mental 
training. 

They  also  learn  that  sewing  is  not  merely  a  useful  handicraft,  but 
an  art,  having  its  body  of  principles  and  rules,  according  to  which  it 
must  be  taught,  to  secure  the  best  practical,  as  well  as  educational, 
results ;  that  the  fundamental  principles  of  the  art  must  determine  the 
progressive  series  of  lessons  upon  which  the  instruction  must  be  based. 

Any  teacher  who  is  an  expert  in  the  use  of  the  needle,  and  will 
faithfully  follow  the  method  of  this  book,  cannot  fail  to  secure  good 
results ;  and  particularly,  if  she  keep  in  mind  that  learning  to  sew  is 
by  no  means  the  only  end  to  be  gained  by  the  study  of  the'  subject. 

I  heartily  commend  this  book  to  the  attention  of  all  who  are  in 
any  way  interested  in  the  subject  of  Industrial  Education. 


MASS.,  April   25,   1893. 


JOHN    D.    RUNKLE, 

Chairman  of  Industrial  Committee  of  School  Board. 


CONTENTS. 


INTRODUCTION vii 

CHAPTER   I. 
First   Year's   Sewing. 

Class  Drill.  —  Practice   in   position.  —  Practice  with   thimble.  —  Thimble   exercise. 

—  Holding  the   needle.  —  Threading  the   needle.  —  Making  the   knot. —  Prac- 
tice with  scissors        ............         1-4 

Description  of  Sampler  No.  1.  —  Materials.  —  Basting.  —  Stitching.  —  Back- 
stitching.  —  Running.  —  Oversewing.  —  Hemming.  —  Buttonhole.  —  Cross- 
stitch. —  Buttonhole  stitch. — Patching.  —  Darning  ......  5-8 

Questions   and   Answers 8-13 

CHAPTER   II. 
Second  Year's  Sewing. 

Work  for  this  Year.  —  Measuring  and  cutting.  —  Paper  folding  and  cutting.  — 

Patching  on  paper. —  Buttonhole.  —  Running  and  gathering.  —  Work  bag  .  14-22 

Description  of  Sampler  No.  2.  —  Materials.  —  Basting.  —  Stitching  and  back- 
stitching.  —  Felling.  —  Running.  —  Hemming.  —  Oversewing.  —  French  seam.-  \/k 

—  Name.  —  Felling.  —  Patching.  —  Oversewing.  —  Gusset.  -•—  Felling.  —  Tuck- 
ing.—  Overcasting. — Band.  —  Ruffle 22-27 

Questions  and  Answers 27-48 


vi  CONTENTS. 

CHAPTER    III. 
Third  Year's  Sewmg. 

PACK 

Work  for  this  Year.  —  Buttonhole  making  on  flannel  and  on  linen.  —  Cross- 
stitch.  —  Kerringoone.  —  Feather-stitch.  —  Hemstitch.  —  Practice  in  cutting  49,50 

Description  of  Sampler  No.  3.  —  Materials.  —  Hemming.  —  Oversewing.  — 
Gusset.  —  Darning.  —  Hemmed-on  patch.  —  Stitched-in  patch.  —  French 
seam.  —  Oversewed  patch. —  Darn. —  Buttonholes  made  with  cotton  and  with 
twist.  —  Band.  —  Tucking.  —  Whipping.  —  Ruffling.  —  Marking  initial  and 
age.  —  Embroidered  edge  on  flannel.  —  Flannel  patch  ....  50-55 

Questions  and  Answers      ...........         57-68 

Cottons  and  Needles  used  in  Sampler  Work         .         .         .         .         .         .        68,  69 

CHAPTER    IV. 
Fourth  Year's  Sewing. 

Work  for  this  Year.  —  Patching.  —  Darned-on  patch.  —  Darning.  —  Mexican 
work.  —  Catting.  —  How  to  measure  for  drawers  pattern.  —  Scale  of  measure- 
ments for  different  size  drawers     .........         70-81 

Directions  for  Cutting  Patterns  for  a  Child 81-86 

CHAPTER   V. 

Fifth  Year's  Sewing.  9 

Work  for  this  Year.  —  Measuring  the  form. — Pattern  for  front  of  tier. — 
Pattern  for  back  of  tier.  —  Sleeve.  —  Measuring  for  sleeve.  —  Front  or 
upper  part  of  sleeve.  —  Back  or  lower  part  of  sleeve.  —  Basting  and 
making  sleeve.  —  Ornament  .  .  .  .  .  ...  .  .  87-101 

CHAPTER   VI. 
Sixth  Year's  Sewing. 

Work  for  this  Year.  —  Basting  wide  hems  and  facings.  —  To  fit  a  basque 
lining.  —  To  pin  the  lining  to  a  form.  —  To  form  the  darts.  —  To  fit  the 
under-arm  pieces.  —  To  fit  the  back.  —  To  cut  the  back  arm-size.  —  To  fit 
the  side  form.  —  A  plain  round  skirt.  —  To  sew  a  skirt  to  the  waist  or 
band.  —  To  cut  a  gored  skirt.  —  Front — Side  gore.  —  Back  .  .  .  102-114 


INTRODUCTION. 


THE  system  of  instruction  in  needlework,  as  given  in  this  book,  is 
the  result  of  many  years'  study  of  the  subject,  and  of  practical  application 
of  the  methods  in  the  public  schools  of  Brookline,  Massachusetts. 

Experience  has  shown  that  careful  preparation  can  make  sewing  as 
educational  as  any  other  subject  of  school  instruction. 

Drawings  of  the  various  stitches  and  kinds  of  work,  with  accurate 
written  descriptions  of  the  same  copied  into  blank  books  for  future  refer- 
ence ;  drawing  diagrams  of  patterns  from  measurements  ;  fitting  the  parts 
of  these  patterns  together  for  garments ;  cutting  and  fitting  simple  dresses, 
first  cutting  to  a  model  and  fitting  to  a  form  which  can  be  easily  handled, 
afterwards  fitting  to  a  pupil's  form,  —  all  these  can  be  taught  step  by  step 
in  a  progressive  course.  Such  a  course  tends,  not  only  to  train  the  hand, 
but  to  develop,  strengthen,  and  mature  the  mind  and  judgment.  By  these 
methods,  sewing  can  be  taught  in*  our  schools  with  the  most  satisfactory 
results,  and  may  lead  both  teacher  and  pupil  to  a  clearer  knowledge  of 
the  many  beautiful  possibilities  of  the  needle. 

When  the  kindergarten  is  fully  established  in  the  public  school 
system,  and  its  value  is  understood,  the  first  sewing,  that  on  coarse  canvas, 
may  be  taught  by  the  regular  teacher  in  the  first  primary  year.  When 
there  has  been  no  kindergarten  instruction  let  this  work  begin  in  the 
second  primary  year.  The  methods  used  in  the  class  work  of  the  first 


viii  INTRODUCTION. 

three  years  are  given  in  the  form  of  questions  and  answers  at  the  end  of 
each  chapter.* 

Questions  for  the  day's  work,  not  exceeding  three  in  number,  should 
be  upon  the  blackboard,  and  if  for  any  reason  a  child  is  waiting  for 
direction  in  her  sewing  she  can  write  the  answers.  When  questions  are 
given  to  a  class,  great  care  should  be  taken  to  frame  each  in  a  complete 
sentence  and  fo  have  the  child's  written  answer  in  another  complete 
sentence,  in  which  the  point  of  the  question  is  embodied.  This  creates  a 
habit  of  thinking  and  of  expressing  clearly. 

I.  The  position  of  the  body  while  sewing  is  of  great  importance,  because 
a  careless  attitude  may  cramp  the  arms  and  hands  and  also  be  prejudicial  to 
the  health.     The  chair  should  be  of  a  height  to  permit  the  feet  to  rest  flat 
upon  the  floor;  the  lower  end  of  the  spine  should  be  firm  against  the  back 
of  the  chair,  the  rest  of  the  body  free  and  erect,  and  the  work  never  nearer 
the  eyes  than  is  necessary  for  a  clear  view  of  the  stitches.     The  shoulders 
should  be  kept  well  back  to  allow  the  chest  full  expansion,  and  the   head 
should  not  be  allowed  to  droop  so  as  to  affect  the  circulation  of  blood  to 
and  from  the  brain.    The  arms  should  never  rest  upon  the  desk  while  sewing. 
The  position  of  a  pupil  indicates  the  amount  of  interest  felt  in  her  work  ; 
if  the  attitude  be  free  and  alert,  the  mind  will  co-operate,  and  not  otherwise. 

While  most  children  rest  their  eyes  more  than  sufficiently  by  allow- 
ing them  to  wander  from  their  work,  there  are,  occasionally,  pupils  who 
need  to  be  cautioned  against  fixing  their  eyes  too  intently  upon  it. 

II.  When  a  class  is  large,  it  is  difficult  to  keep  all  the  pupils  at  the 
same  point  in  the  progress  of  the  work  even  in  simultaneous  instruction  ; 
the  quicker  ones  are  employed  by  various  devices  continuing  active  thought, 
such  as  assisting  the  slower  ones  or  making  a  drawing  of  their  own  finished 
work  on  the  blackboard  and  writing  a  description  of  this  work  and  its  use. 

*  A  strict  adherence  to  these  questions  and  answers  may  not  always  be  practicable;  any  ingenious 
teacher  will  be  able  to  form  rules  and  questions  from  her  own  idea  of  the  needs  of  her  pupils. 


INTR  OD  UC  TION. 


IX 


After  correction,  these  drawings*  and  descriptions  are  copied  into  blank 
books  for  future  reference.     These  books  have  been  found  invaluable. 

III.  The  development  of   those  senses  which  lead  to  quick  and  accu- 
rate perceptions  of  form   and   color  is  essential   to   artistic  work  in  dress- 
making and    embroidery.     This    matter   of   taste  is  one   of   education,  and 
should  not  be  neglected.     In  the  fifth  year  of  sewing,  possibly  the  fourth 
year,  a  pupil  should  be  able  to  draw  and  color  designs  for  garments,  using 
crayons  or  water  colors. 

IV.  From  the  beginning,    a   child   should   be   taught   to   prepare   her 
work  in  a  thorough  manner.f  Judgment  is  trained  more  in  the  preparation 
than  in  any  other  part  of  the  work  ;  on   the  sampler  the  short  seams  are 
easily    prepared   by  the   pupils,   the   colored   threads    and   the   varied  work 
holding    their   interest    and   attention    until   more   difficult  work   is   under- 
taken in  the  second  year  of  sewing.     The  most  difficult  part  of  preparation 
is  first  taught  upon  paper,  the  second  year ;   this  includes  patches,  bands, 
gussets,  etc.     It  is  helpful  to  use  papers  of  two  colors,  —  one  to  represent 
a  garment,  and  the  other  showing  distinctly  the  shape  of  the  gusset. 

Sampler  work  is  adopted  in  the  beginning,  because  progressive  lessons 
in  sewing  can  be  more  readily  taught  upon  short  seams.  Afterwards  these 
samplers  can  be  used  as  reference  for  all  future  work,  since  all  kinds  of 
sewing  are  exemplified  in  them. 

In  the  public  school  work  economizing  of  material  should  be  con- 
sidered ;  the  cost  of  these  samplers  is  so  small  that  they  could  be  pro- 
vided in  the  same  way  as  all  other  supplies  for  the  school. 

The  youngest  pupils  are  given  canvas  in  the  first  sampler,  because 
judging  of  distances,  size,  slope,  and  direction  of  stitches  are  all  made 
easier  and  given  more  exactness  by  the  use  of  the  coarse  and  even  web. 
The  second  sampler  is  of  unbleached  cotton ;  the  third,  of  bleached  cotton. 

*  Several  cuts  in  this  book  are  made  from  drawings  of  the  pupils  of  the  W.   H.  Lincoln 
School,  Brookline,  Mass.,  and  from  the  pupils  of  the  South  End  Industrial  School,  Roxbury,  Mass, 
t  See  Circular  of  English  Education  Department,  p.  120. 


INTRODUCTION. 


V.  In  the  first-year  practice  in  position,  the  use  of  the  fingers  and 
of  the  implements  of  sewing  should  precede  actual  work.  Thoroughness 
in  this  is  a  safeguard  against  awkwardness  and  mistakes  that  otherwise 
would  waste  time  and  material.  The  class  drill  is  given  minutely  in 
Chapter  I.  The  drill  secures  prompt  obedience,  cultivates  the  faculty  of 
observation,  and  trains  the  muscles  for  future  work. 

At  the  period  allowed  for  the  lesson  one  girl  is  selected  to  have 
charge  of  the  box  or  boxes  of  cotton  and  of  the  needles.  Whenever  a 
pupil's  work  requires  either  cotton  or  needle  different  from  that  which 
she  has,  she  makes  known  her  wants  and  is  supplied  by  the  one  having 
charge  of  the  boxes.  In  this  way  every  pupil  soon  becomes  familiar  with 
all  variations  of  size,  and  understands  what  she  needs  and  the  reasons  for  it. 
In  the  third  year's  sewing,  a  piece  of  flannel  is  marked  8,  9,  10,  n, 
12,  and  one  needle  corresponding  to  each  number  is  placed  at  the  side  of 
that  number.  This  is  kept  in  the  work  bag  always  ready  for  use.  Small 
pieces  of  cloth  for  practice  work  should  always  be  in  the  work  bag,  ready 
for  a  pupil  to  take  up  while  waiting  for  the  teacher's  attention.  When  a 
piece  of  this  practice  work  is  especially  well  done,  it  may  be  fastened 

upon  a  sheet  of  card-board  known  as 
the  "  Class  Card  of  Models."  This  may 
be  considered  an  honor. 

See    description    of    work  -bag    in 
second  year. 

VI.  Each  pupil  should  have  a 
clean  apron  to  wear  in  the  class,  or 
the  work  will  soon  become  soiled  ; 
bags  containing  the  apron,  work, 
thimble,  etc.,  may  be  collected  and 
put  away  by  some  pupil  after  each 
Fig.  i.  — sewing  desk.  lesson.  This  has  a  marked  influence 


INTRODUCTION. 


XI 


in  making  children  careful  and  neat.  When  special  sewing  desks  (Fig.  i) 
are  provided,  the  scissors  stand  in  one  corner  of  the  waste  pocket  and 
the  spools  of  thread  with  the  pincushion  and  emery  bag  are  left  on  the 
rod  at  the  back  or  the  side  of  the  desk.  Otherwise  a  teacher  must  use 
some  device  by  which  she  can  carry  with  her  the  things  needed  ;  a  cord 
may  be  fastened  on  her  apron,  to  which  may  be  attached  scissors,  while 
spools,  etc.,  are  carried  in  the  work  apron  pocket. 

VII.  If   the   day's    work   be   clearly  mapped  out    in   the  mind  of   the 
teacher  before  she  goes  into  her  class,  and  diligent  use  made  of  the  two 
hours  a  week  given  to  the  sewing,  most  excellent  results  may  be  obtained 
by  following  such  a  system  as  the  one  given  in  this  book.     When  a  pupil 
has  reached  the  fifth  year  of  sewing,  she  has  gained  sufficient  self-reliance 
to  work  with  less  help  from  the  teacher. 

VIII.  The  first  sampler  is  composed  of  Penelope  canvas*  worked  with 
colored    yarns.     In    the    construction    of    this    sampler   nearly   all    stitches 
used  in  plain  sewing  can  be  taught.     The  strips,  when  finished,  are  joined 
by  oversewing  to  make  the  sampler. 

The  transition  is  naturally  to  a  coarse,  unbleached  cotton  sampler, 
and  by  the  time  a  pupil  has  finished  these  two  samplers,  she  is  ready  for 
finer  work  upon  bleached  cotton.  Having  satisfactorily  made  the  three 
samplers,  the  pupil  is  now  trained  to  the  point  of  doing  good  work,  and 
can  proceed  to  the  cutting  and  making  of  garments. 

IX.  When    the    uncut    cloth  or   a    prepared    garment   is  brought  from 
home,  it  causes  endless  complications  and  hinderances,  and  makes  it  impos- 
sible to  systematize  the  work  or  teach   the  cutting.     Therefore,  it  is  con- 
sidered more  practical  for   schools   to  provide   material  used  in    the   grade 
work,  letting  the  pupil  pay  for  each  garment  as  it  is  made,  thus  lessening 
the  cost. 

*  Coarse  Penelope  canvas  No.  I   or. 2. 


xii 


INTRODUCTION, 


GENERAL    REMARKS. 

1.  Every   child   instinctively  uses  the  teeth  for  biting  the   thread.     She 

should  be  taught  that  she  must  never  do  this.  It  injures  the  teeth 
and'  soils  the  work.  Never  draw  the  thread  under  the  little  finger, 
but  always  over  it.  If  the  thread  is  grasped  in  the  hand,  it  becomes 
dampened  and  soiled. 

2.  Never  use  a  knot  in  sewing  when  it  cannot  be  hidden  completely. 

3.  Never  let  the  scissors  become  too  dull  to  cut  well. 

4.  Never  use  a  bent,  rusty,  or  too  large  needle. 

5.  Never  "turn  under  a  selvedge  in  a  hem  or  a  band. 

6.  Never  hurry,  especially  in  the  preparation  of  work.      However  little  is 

done,  let  that  little  be  done  thoroughly. 

7.  Never  waste  material  of  any  kind. 


n  an 

Showing  position  of  the  hands  in  the  finger  exercises. 


PROGRESSIVE    LESSONS 

IN  THE 

ART  AND   PRACTICE   OF   NEEDLEWORK. 


CHAPTER   i. 
First  Year's   Sewing. 

IN  the  first  year  must  come  the  drill  in  position,  as  also  a  drill  in 
using  the  fingers  and  all  implements  of  sewing.  Thoroughness  in  this  and 
in  all  details  of  the  work  is  important. 

CLASS    DRILL. 
Practice  in   position  :  — 

1.  Instruct  the  pupils  in  the  proper  position,  and  the  reasons  for  taking 
and  keeping  it. 

2.  Practice  in  distinguishing  the  right  and  left  hands,  also  the  different 
fingers. 

3.  Train  a  child  to  call  that  part  of  a  thimble  that  rests  on  the  back  of 
the  finger  —  the  back  of  the  thimble. 

Practice  in  preparing  the  right  hand  for  the  use  of  the  thimble :  — 
Raise  the  right  hand,  hold  the  thumb  and  first  finger  in  a  horizontal 
position,  while  the  second  or  thimble  finger  is  held  vertically  ;  then  lay  the 
first  finger  over  the  third  and  fourth,  holding  the  three  down  to  the  palm 
with  the  thumb.*  This  is  a  difficult  exercise  for  untrained  muscles,  and  the 
child  should  rest  after  four  or  five  trials. 

*  See  finger  exercises,  Nos.  I.  and  II.,  on  the  opposite  page. 


PROGRESSIVE  LESSONS  IN  NEEDLEWORK. 


Practice   with   thimble  :  — 

1.  Give  each  child  a  thimble  which  fits  snugly.     Let  her  place  it  on  her 
desk  directly  in  front  of  her. 

2.  As  in  the  exercise  "preparing  for  use  of  thimble,"  raise  the  right 
hand  in  position  ;  then,  taking  the  thimble  between  the  thumb  and  finger  of 
the  left  hand,  place  it  on  the  erect  second  finger  of  the  right  hand.     Put 
thimble  back  on  desk,  rest,  and  repeat. 

Thimble   exercise :  — 

i.   Again  raise  the  right  hand,  and  place  the  thimble  as  has  been  directed. 
Turn  the  arm  till  the  palm  is  opposite  to  the  chest ;  then  bend  the  thimble- 
finger  at  the  second  joint  until  the  thimble 
rests  upon  the  top  of  the  thumb.*    Raise  the 
finger,  and  repeat  the  movement  four  times. 

2.  Raise   the    thimble    just    to    clear 
the  top  of  the  thumb  ;  and  keeping  all  the 
joints  limber,  move  the  thimble-finger  hori- 
zontally back  and  forth  four  times  over  the 
top  of  the  thumb,  f 

3.  With  the  right  hand  raised  and  all 
the  fingers  free,   bring   the   thimble-finger 
into  the  sewing  position,  having  the  front 
and  back  of  the  thimble  parallel  with  the 
palm  of  the  hand.     Now  make  movements 
with  the  thimble-finger,  as  if  the  eye  of  a 

needle  was  resting  against  the  back  of  the  thimble.^  The  thimble-finger 
is  thus  bent,  and  the  needle  pushed  by  the  back  of  the  thimble  in  order 
to  exercise  more  force.  If  this  habit  is  once  acquired,  a  stitch  is  taken 
with  less  effort  than  when  the  top  of  the  thimble  is  used.  § 

*  No.  III.,  finger  exercises,  p.  xii.        t  Finger  exercises,  No.  III.        J  Finger  exercises,  No.  IV. 

§  When  a  child  has  formed  the  habit  of  using  the  top  or  side  of  her  thimble,  it  is  not 
always  best  to  change,  as  a  slow  and  poor  result  is  produced,  which  is  discouraging  to  her; 
however,  in  simultaneous  work,  all  the  pupils  must  follow  the  teacher's  directions. 


FIRST    YEAR'S   SEWING.  3 

Holding  the  needle  :  — 

1.  Give  each  child  one  of  the  finest   chenille  needles,   and  have  her 
place  it  on  her  desk,  with  its  length  parallel  with  the  front  edge  of  her  desk, 
the  eye  of  the  needle  to  the  right  hand. 

2.  Let  the  child  grasp  the  needle  near  the  point  between  the  thumb 
and  forefinger  of  the  left  hand,  and,  lifting  it,  place  it  between  the  thumb  and 
forefinger  of  the  right  hand,  with  the  eye  against  the  back  of  the  thimble 
\  in.  from  the  top.     See  Fig.  2,  A  and  B. 

Moving  the  needle  as  for  sewing  :  — 

Let  the  child  move  the  thimble-finger  as  in  the  thimble  exercise  ;  and 
pushing  the  needle  forward  its  full  length,  through  a  small  piece  of  cloth  or 
paper,  slip  the  thumb  and  forefinger  of  the  right  hand  forward  and  grasp  the 
needle  \  in.  from  the  point,  drawing  it  through  the  cloth.  Repeat  this 
movement. 

Threading  the  needle  :  — 

1.  Give  each  child  one  of  the  finest  chenille  needles  and  a  needleful 
of  fine  darning  cotton. 

2.  Direct  the  child  to  hold  the  needle  between   the  thumb  and   first 
finger  of  the  left  hand,  with  the  eye  uppermost  and  squarely  in  front  of 
her  so  that  she  can  see  through  it. 

3.  Let    the    child    take    the    thread    between    the    thumb    and    first 
finger  of  the  right  hand   J   in.  from   the  end,  and   pass  this  end  through 
the  eye  of  the  needle,  while,   at    the    same   time,   she   pushes    the   needle 
between   the  thumb  and   forefinger  of  the  right   hand,   where  it   must   be 
grasped,  drawing  the  thread  through  with   the   left   thumb   and   forefinger 
about  4  in. 

Making  the  knot :  — 

Holding  the  threaded  needle  in  the  right  hand,  take  the  other  end 
of  the  thread  between  the  thumb  and  first  finger  of  the  left  hand,  and, 


4  PROGRESSIVE  LESSONS  IN  NEEDLEWORK. 

keeping  the  thread  tightly  stretched,  wind  it  around  the  top  of  the  first 
finger  and  cross  it  over  the  end  held  between  the  finger  and  thumb ; 
then  roll  the  finger  down  the  thumb,  carrying  the  thread  with  it  about 
^  in.,  and  with  the  nail  of  the  second  finger  push  the  knot  thus  formed 
to  the  end  of  the  thread. 

Practice  •with  scissors  :  — 

Each  child  should  be  given  a  pair  of  scissors  (5  to  5}  in.  long),  of 
the  best  steel  and  light  weight.  When  using  an  ordinary  school  desk, 
have  the  scissors  placed  on  top  and  in  front  of  the  child,  the  bows  to 
the  right  hand. 

1.  Let  the  child  lift  the  scissors  by  placing  the  thumb  of  the  right 
hand  through  the  bow  of  the  broader  blade,  and  the  third  finger  of  the 
right  hand  through  the  other  bow,  the  scissors  resting  on  the  first    and 
second  fingers  of  the  right  hand  for  guidance  and  support.     Let  the  child 
now  push  them  from  her  towards  the  back  of  the  desk,  being  careful  to 
slip  the  blunt  end,  without  raising  it,  along  the  top  of  the  desk,  and  at 
the  same  time  opening  and  shutting  the  scissors  with  the  cutting  motion 
as  in  use. 

2.  Let  the  child  practise   the    cutting   movement   from    right    to    left 
along  her  desk  in  the  same  manner. 

3.  Give  each  child  a  piece   of   ruled   paper,   and   let    her  cut    by  the 
lines  on  the  paper.     Then  practise  cutting  half-way  between  the  lines  and 
also  across  the  lines. 

4.  Direct  the  child  to  cut  two  straight   strips   of  stiff  paper  4  in.    x 
2  in.,  and  measure  distances  by  holding  the   edges  a  certain   space  apart, 
according  to  direction. 

5.  Cut   a    2|-    in.    paper   square,    using    rule    and    pencil.      Make    this 
exact   by   placing   the    diagonally    opposite    corners    on    each    other,    meas- 
uring and  paring.     This  is  for  a  pattern  for  a  canvas  patch. 


FIRST    YEAR'S  SEWING. 


5 


DESCRIPTION    OF    SAMPLER    No.    I. 
MATERIALS    REQUIRED. 

4  strips  of  canvas,*  3  in.  x  9  in. 

I  strip  of  canvas,      4  in.  x  9  in. 

3  skeins  of  Saxony  yarn,  red,  yellow,  and  blue.f 

Chenille  needle,  No.  24. 

For  methods  of  work  on  first  strip,  refer  to  Nos.  12,  15,  16,  in  questions 
and  answers  of  the  first  year's  work. 

For  methods  of  work  on  second  strip,  refer  to  Nos.  20,  22,  27,  in  ques- 
tions and  answers  of  the  first  year's  work. 

Estimated  cost  of  canvas  sampler,  1 1  cents. 

First  strip  of  canvas,  3  in.  x  9  in. 

i. 

Basting.  —  Make  a  line  of  basting  \  in.  from  the  top,  in  red  worsted,  as 
described  in  answer  to  question  12. 

Ten  threads  below  this  line  make  a  second  line  of  basting  in  yellow 
worsted. 

Ten  threads  below  make  a  third  line  of  basting  in  blue  worsted: 

ii. 

Stitching.  —  Fourteen  threads  below  make  a  line  of  stitching,  using  the  three 
colors,  each  one-third  the  length  of  the  line,  as  described  in  answer  to 
question  15. 

in. 

Backstitching. —  Fourteen  threads  below  this  make  a  line  of  backstitching,  as 
described  in  answer  to  question  16.     This  is  also  done  in  three  colors. 
For  joining  the  colors,  refer  to  questions  and  answers  14  and  17. 

*  Commercial  name,  Penelope  canvas,  No.  6.  f  This  will  supply  twenty  pupils. 


6  PROGRESSIVE  LESSONS  IN  NEEDLEWORK. 

Second  strip  of  canvas,  4  in.  x  9  in. 

IV. 

Running.  —  \  in.  from  the  top  make  a  line  of  running  stitches  in   red,  as 
described  in  answer  to  question  19. 

Ten  threads  below  make  a  similar  line  in  yellow. 
Ten  threads  below  make  a  similar  line  in  blue. 


Oversewing.  —  Fourteen  threads  below  crease  the  canvas  for  the  whole 
length,  so  that  the  two  threads  will  be  on  the  edge ;  oversew  this, 
as  described  in  answer  to  question  20.  Make  the  line  in  three 
colors,  joining  as  described  in  answer  to  question  21.  Lay  the 
canvas  flat  again. 

VI. 

Hemming.  —  Eight  threads  below  make  one  line  of  hemming  stitches.  On 

the    lower   edge    of    the    canvas    turn    up    four   threads    for   the  first 

turning  of  a  hem ;   turn  again,  to  make  a  hem   of  about  |  in.  Sew 

the  hem  in  three  colors,  as  described  in  answer  to  question  24.  Join 
as  described  in  answer  to  question  25. 

Third  strip  of  canvas,  3  in.  x  9  in. 

VII. 

Buttonhole.  —  I  in.  from  the  upper  edge  and  4|  in.  from  the  left-hand 
edge,  begin  a  buttonhole.  Hold  the  canvas  with  the  left  hand, 
between  the  thumb  and  forefinger,  working  lengthwise.  With  a 
needleful  of  red  worsted  make  three  running  stitches  on  the  under 
side.  Put  the  needle  up  from  the  under  side,  draw  the  thread 
through,  cross  diagonally  four  threads,  take  up  two  threads,  with 
the  needle  pointing  directly  towards  the  chest ;  and  proceed  in  this 
way"  until  seventeen  stitches  are  made.  Turning  the  canvas  round, 
make  a  line  of  stitches  same  as  the  first,  with  two  threads  between. 


FIRST    YEAR'S  SEWING.  7 

Twenty  threads  below,  repeat  this ;  fasten  off  the  red  worsted. 
Beginning  with  yellow  worsted  in  the  same  place,  cross  each  stitch 
until  the  closed  end  is  reached,  when  the  cross-bar  must  be  made. 
This  is  done  by  making  one  stitch  to  the  left,  then  one  to  the  right, 
until  three  have  been  made  on  each  side.  Continue  with  cross- 
stitch  until  the  starting-point  is  reached. 

VIII. 

Darning.  —  This  is  a  series  of  running  stitches  in  parallel  lines,  taking 
up  two  threads  and  going  over  two,  beginning  with  one  stitch  in 
the  first  line,  increasing  to  twelve  stitches  in  a  line,  then  decreasing 
to  one. 

Fourth  strip  of  canvas,  3  in.  x  9  in. 

IX. 

Cross-stitch.  —  Fourteen  threads  from  the  top  make  a  line  of  cross-stitches, 
as  shown  in  the  illustration,  three  colors. 

x. 

Buttonhole  stitch.  —  Twenty  threads  below  draw  the  needle  through  the 
upper  side.  Take  up  vertically  four  threads.  Then  the  thread  from 
the  eye  of  the  needle  is  brought  around  the  point  of  the  needle 
from  right  to  left,  —  care  being  taken  that  it  passes  over  the  other 
end  of  the  thread,  —  and  the  needle  pulled  through,  bringing  the 
loop  up  straight  to  the  top  of  the  four  threads,  continuing  these 
stitches  across  the  canvas,  in  three  colors. 

Fifth  strip  of  canvas,  3  in.  x  9  in. 

XI. 

Patching.  —  Cut  a  small  hole  in  the  canvas  2\  in.  from  the  end.  Cut  a 
piece  of  canvas  2\  in.  square.  Turn  in  the  edges  \  in.  and  baste 
on  the  under  side  of  the  canvas,  the  centre  of  the  patch  coming 


8  PROGRESSIVE  LESSONS  IN  NEEDLEWORK. 

directly  over  the  centre  of  the  hole,  being  careful  to  have  the  threads 
match.  Now  cut  the  hole  i  in.  square.  On  each  corner  cut  diago- 
nally across  four  threads.  Turn  in  the  edges  all  around,  and  baste 
to  the  patch. 

XII. 

Darning.  —  Let  a  torn  place  be  represented  by  two  lines  making  a  right 
angle,  as  shown  in  the  cut.  Overcast  these  lines,  .taking  up  two 
threads.  Make  a  line  of  basting  all  around,  \  in.  from  these  lines. 
In  the  corner  of  the  darn  make  oblique  lines  of  running  stitches, 
being  careful  to  leave  a  small  loop  at  each  turning,  so  that  they 
will  come  together  at  the  corner  of  the  inside  basting.  The 
remainder  of  the  darn  is  made  by  straight  lines  of  running  stitches 
back  and  forth,  making  small  loops  at  each  turning. 

The  first  four  strips  of  canvas,  when  finished,  are  joined  by 
oversewing,  the  edges  being  turned  down  \  in.  The  fifth  strip  is 
joined  to  the  others  by  a  line  of  buttonhole  stitches,  worked  over 
the  raw  edges.  Overcasting  the  edges  all  around  finishes  the  canvas 
sampler  (Fig.  3). 

QUESTIONS    AND    ANSWERS. 

1.  On   what   finger   should   the    thimble    be    worn  ?       Ans.    The    thimble 

should  be  worn  on  the  second  finger  of  the  right  hand. 

2.  Of  what  use  is  the  thimble?      Ans.  The  thimble  protects  the   finger, 

and  helps  in  pushing  the  needle  through  the  work. 
Show  how  the  thimble  should  move  in  sewing. 

3.  How    should    the    needle    be    held  ?       Ans.    The    needle    should    be 

held  between  the  thumb  and  first  finger  of  the  right  hand, 
^  in.  from  the  point,  the  eye  of  the  needle  resting  against  the 
thimble. 

4.  What  part  of  the  thimble  should  the  needle  rest  against  ?      Ans.  The 

needle  should  rest  against  the  back  of  the  thimble,  \  in.  below 
the  top. 


FIRST    YEAR'S  SEWING. 


Fig.  3.  — Sampler  No.  i.     This   sampler  is   made  of   Penelope   canvas,  No.  6;    in  the  primary  grades   a 
coarser  canvas,  No.  3  or  4.  should  be  used. 


I0  PROGRESSIVE  LESSONS  IN  NEEDLEWORK. 

5.  What   is  the  back  of  the  thimble?      Ans.   The  back    of   the    thimble 

is  that  part  which  covers  the  back  of  the  finger. 

6.  Why  is  the  needle  pressed  against  the  back  of  the  thimble,  and  not 

against  the  top?  Ans.  Because  more  force  can  be  used  when  both 
joints  of  the  thimble  ringer  are  bent ;  when  the  top  of  the  thimble 
is  used,  only  one  joint  is  bent.  Stitches  can  be  more  rapidly 
and  more  evenly  made  when  more  force  is  used. 

7.  What  is  the  name  of  the  cloth  on  which  practice  stitches  are  made  ? 

Ans.  The  cloth  on  which  practice  stitches  are  made  is  called 
canvas. 

8.  What  is  the  name  of  the  thread    used  ?       Ans.    The   thread   used    is 

called  worsted. 

9.  How   is    a   worsted    needle    threaded  ?       Ans.    To    thread    a   worsted 

needle,  hold  it  between  the  thumb  and  forefinger  of  the  right 
hand,  the  eye  pointing  towards  the  thumb  and  forefinger  of  the 
left  hand,  between  which  is  held  a  loop  of  the  worsted.  Pass 
the  eye  of  the  needle  through  this  loop,  and  draw  the  worsted 
tightly  over  it.  Then  pull  out  the  needle,  and  push  the  loop  of 
worsted  through  its  eye.  (Illustrate  on  the  blackboard.) 

10.  How  should   the    scissors    be    held  ?       Ans.    For  cutting   light    cloths, 

especially  woollens,  the  blunt  side  of  the  scissors  should  be  under- 
neath ;  then  the  point  will  not  catch  in  the  cloth.  The  thumb 
should  run  through  the  upper  bow,  and  the  third  finger  through 
the  lower,  the  first  and  second  fingers  supporting  and  guiding  the 
scissors.  (Illustrate  on  the  blackboard.) 

11.  How  many  kinds   of  basting  stitches  are  made?       Ans.    Three   kinds 

of  basting  stitches  are  made. 

12.  How    are    the    basting    stitches    made    on    canvas  ?       Ans.    To    make 

basting  stitches  on  canvas,  begin  at  the  right-hand  edge,  the  first 
line  of  basting  \  in.  from  the  upper  right-hand  corner.  For  the 
even  stitches,  pass  the  needle  first  under  four  threads,  and  then 


FIRST    YEAR'S  SEWING.  U 

over  four  threads,  until  a  line  is  made  across  the  canvas.  In  the 
second  line  of  basting,  pass  the  needle  first  under  four  threads, 
and  then  over  eight,  and  so  on  across  the  canvas.  In  the  third 
line  of  basting,  pass  the  needle  first  under  four  threads,  and  then 
over  sixteen,  and  repeat  to  the  end  of  the  canvas.  (Illustrate  on 
the  blackboard.) 

13.  Is  basting  begun  with  a  knot?      Ans.  Yes;   knot  the  thread  to  begin 

basting,  because  the  basting  te  finally  pulled  out. 

14.  How  is  the  thread  fastened  for  stitching  and  back-stitching?     Ans.  To 

fasten  the  thread  for  stitching  and  back-stitching,  turn  the  upper 
right-hand  corner  of  the  canvas  over  the  first  finger  of  the  left 
hand,  and  take  up  two  threads  on  the  under  side  with  the  needle, 
and  draw  through  all  of  the  thread  except  \  in.,  which  is  held 
down  with  the  left-hand  thumb,  and  take  a  stitch  over  it  to 
prevent  its  loosening  and  drawing  through.  Then  put  the  needle 
through  to  the  upper  side,  four  threads  from  the  edge,  and  begin 
to  work. 

15.  How  is   the   stitching   on    canvas    made?       Ans.    Begin    to    stitch   on 

canvas  with  the  needle  four  threads  from  the  right-hand  edge, 
on  the  upper  side,  and  put  it  through  to  the  under  side,  two 
threads  nearer  the  edge,  in  a  horizontal  line ;  then  take  up  four 
threads  horizontally  on  the  needle,  and  bring  it  to  the  upper  side. 
This  will  be  two  threads  in  front  of  its  first  position.  This  is 
repeated  along  the  whole  seam.  (Illustrate  on  the  blackboard.) 

16.  How    is    back-stitching   done?       Ans.    In    back-stitching,    take    up   six 

threads  on  the  needle,  then  go  back  and  take  up  the  last  two  of  these 
and  four  more  in  advance,  and  so  on.  (Illustrate  on  the  blackboard.) 

17.  How  is  the  thread  joined  in  stitching  and  back-stitching?      Ans.  The 

thread  in  stitching  and  back-stitching  is  joined  in  the  same  way 
that  it  is  fastened,  beginning  on  the  wrong  side,  over  the  second 
stitch  from  the  last. 


I2  PROGRESSIVE  LESSONS  IN  NEEDLEWORK. 

1 8.  What  is  the  difference  between  stitching  and  back-stitching?     Ans.  In 

stitching,  the  stitches  touch  ;  and  in  back-stitching  there  is  a  short 
space  between  the  stitches. 

Show  the  difference  between  stitching  and  back-stitching  by  drawings 
on  the  blackboard. 

19.  How  are  running  stitches   made  ?      Ans.    Running  stitches  are   made 

by  taking  up  two  threads  of  the  canvas,  then  passing  the  needle 
over  two  threads,  then  taking  "up  two  more  and  passing  over  the 
next  two,  and  so  on. 

20.  How   is    the    thread    fastened    and    the    stitch    made    in    oversewing  ? 

Ans.  To  fasten  the  thread  and  make  the  stitch  in  oversewing, 
put  the  needle  from  behind  through  the  two  thicknesses  of  the 
canvas,  two  threads  from  the  top  and  two  threads  from  the  right- 
hand  edge.  Then  pull  all  but  |-  in.  of  the  thread  through.  That 
-|  in.  of  thread  lay  over  the  top  of  the  seam,  and  sew  over  it  by 
putting  the  needle  up  from  behind  and  two  threads  in  advance 
of  its  first  position,  then  pulling  the  thread  through  until  the 
stitch  is  tight.  Repeat  this  over  the  length  of  the  seam.  (Illus- 
trate on  the  blackboard.) 

21.  How  is  a  new  needleful  joined  in  oversewing?      Ans.  Join  the  thread 

in  oversewing  the  same  as  it  is  fastened  in  beginning,  taking  care 
to  begin  at  the  second  stitch  from  the  last  one  made,  in  order  to 
make  the  seam  firm,  and  sewing  over  these  last  stitches  with  both 
ends  on  top.  (Illustrate  on  the  blackboard.) 

22.  In    oversewing   are   the    stitches    straight    across    the    top  ?       Ans.    In 

oversewing,  the  stitches  slant  from  right  to  left  over  the  top  of 
the  seam. 

23.  How   may   the    oversewed    seam   be   finished  ?      Ans.    The   oversewed 

seam  may  be  strongly  finished  by  sewing  back  over  the  last  four 
or  five  stitches.  (Illustrate  this  on  the  blackboard.) 

24.  How  should  the  thread  be  fastened  to  begin  to  hem,  and  how  should 


FIRST   YEAR'S  SEWING.  l$ 

the  stitches  be  made?  Ans.  To  fasten  the  thread  to  begin  hem- 
ming, start  two  threads  from  the  right-hand  edge  of  the  canvas 
and  take  up  the  two  threads  of  the  folded  .edge  diagonally  to  the 
right  and  directly  above  ;  pull  the  thread  of  red  worsted  through 
all  but  |  in.  at  the  end ;  put  this  remaining  |  in.  of  thread  up 
under  the  fold  to  the  left,  and  hold  it  there  with  the  thumb  of 
the  left  hand ;  now  bring  the  needle  down  and  put  it  through  the 
canvas  below  the  fold,  two  threads  in  advance  of  the  point  at 
which  it  came  out  before,  and  pointing  it  to  the  left ;  take  up  two 
threads  diagonally  forward  and  upward.  This  is  repeated  for  each 
stitch,  (Illustrate  on  the  blackboard.) 

25.  How  is    the    thread   joined    in    hemming?      Ans.    To   join    the   thread 

in  hemming,  leave  \  in.  of  the  old  needleful,  and  pull  this  down 
under  the  fold  of  the  hem,  the  edge  of  which  is  lifted  to  place 
•  the  thread  under.  Then  put  the  newly  threaded  jieedle  back 
and  under  the  hem,  as  far  as  the  second  stitch  from  the  last, 
and,  beginning  there,  hem  over  these  last  three  stitches  and  on 
to  the  end  of  the  seam. 

26.  Should   hemming   stitches   be    slanting   or   straight  ?      Ans.    Hemming 

stitches  should  be  slanting  on  both  upper  and  under  sides. 

27.  How   should  a   hem    be    finished  ?      Ans.    By    taking    two    hemming 

stitches  over  the  last  stitch  ;    then  run  the  needle  under  the   hem 
back  four  stitches,  draw  the  thread  tight,  and  cut  close. 
Show  these  steps  on  the  blackboard. 

28.  In  what  direction   is   the  work  done  in  basting,   overcasting,  running, 

stitching,  back-stitching  and  hemming?  Ans.  In  basting,  oversew- 
ing, running,  stitching,  back-stitching  and  hemming,  the  work  is 
done  from  right  to  left. 


CHAPTER    II. 
Second  Year's   Sewing. 

THE  second  year  sampler  is  made  of  coarse  unbleached  cotton  for 
the  following  reasons  :  — 

The  threads  are  large  and  easily  seen  without  straining  the  eyes. 

It  is  softer  than  bleached  cloth  of  the  same  quality  and  more  easily 
handled  in  preparing  seams. 

It  is  not  so  quickly  soiled. 

The  pupil  in  learning  to  thread  the  needle  for  work  on  cotton  cloth 
must  use  a  coarse  needle  and  thread,  which  should  be  used  only  on 
coarse  cloth.  Fine  cloth  requires  a  fine  needle  and  thread. 

Colored  sewing  cottons  are  used,  because  a  child  can  more  readily 
see  her  stitches  and  their  shape,  size,  and  method  of  joining. 

The  teacher  of  this  class  should  interest  her  pupils,  and  awaken  a 
desire  to  know  all  about  steel,  from  which  needles,  scissors,  and  emery 
are  made..  Also  have  talks  on  the  nature  and  growth  of  cotton,  or 
tree  wool,  and  its  various  uses.*  Show  cotton  seed  and  tell  the  processes 
of  growth  until  the  raw  cotton  appears.  Tell  how  the  cotton  is 
gathered  and  made  into  threads ;  how  the  threads  are  woven  to  make 
cloth. 

Cloth  has  two  kinds  of  threads  ;  these  are  called  length  and  width 
threads,  or  warp  and  woof.  The  length  threads  are  always  stronger 

*  "  Every  Day  Occupations,"  by  H.  Warren  Clifford,  S.D.,  will  be  found  useful  as  a  reference, 
when  studying  about  these  raw  materials. 


SECOND    YEAR'S  SEWING. 


than  the  width  threads,  because  they  must  be  stretched  on  the  loom 
while  the  width  threads  are  woven  into  them.  When  a  piece  of  cloth 
is  woven  or  finished,  the  length  is  readily  known  by  the  selvedge,  or 


Fig.  4.  — Canvas  showing  finished  edges  or  selvedges. 

finished  edge.  The  width  is  between  the  selvedges.  The  bias  is  the 
diagonal  fold  formed  by  placing  the  selvedge  and  width  edge  evenly 
together.  Take  one  yard  of  the  coarsest  Penelope  canvas  (Figs.  4 
and  5)  ;  hold  this  in  sight  of  the  class,  and  have  the  pupils  tell  the 
length  and  width  threads,  and  how  the  bias  is  formed. 


i6 


PROGRESSIVE  LESSONS  IN  NEEDLEWORK. 


The  pupil  should  make  a  drawing  on  the  blackboard  of  a  piece  of 
cloth,  showing  the  selvedge,  cut  edge,  and  bias  ;  she  should  also 
express  in  writing  the  idea  formed  in  her  mind  by  these 
terms.  A  clear  perception  of  all  this,  when  once  gained, 
will  be  a  help  in  every  lesson. 

Measuring  and  cutting :  — 

The  class  should  be  provided,  with  rulers, 
from  which  to  learn  the  inch  and  its  divi- 
sions. Have  each  child  cut  from  stiff 
and  unruled  paper  a  piece  exactly 
6  in.  long  and  i  in.  wide,  to  use 
for  measuring;  have  the  edges 
even  and  the  corners  square. 
This  measure  is  kept  in 
the  work  bag.  Mark, 
as  on  a  ruler,  the 
whole,  half,  quarter, 
and  eighth  inches. 
The  pupil  must  re- 
member these  lengths, 
as  they  are  often 
spoken  of  in  her 
work  and  in  places 
which  cannot  be 
easily  measured.  Let  the  pupils  space  the  different  measures  on  paper 
and  on  the  blackboard  by  means  of  dots  and  lines,  using  the  ruler  as  a 
test  of  exactness  only. 

Folding  and  cutting  :  — 

Give  the    child    a   piece   of   paper    3    in.  x  9   in.        Let    her  fold    the 
lower  left-hand  corner  over  to  the   upper   edge,   and    crease  the   diagonal 


Fig.  5. —  Canvas  showing  width  and  bias,  or  diagonal  fold. 


SECOND   YEAR'S  SEWING. 


'7 


or  bias  line  thus  formed.  Then  crease  the  line  parallel  with  the  outer 
edge,  to  mark  a  piece  3  in.  square.  Measuring  with  this  square,  fold 
and  crease  the  whole  nine  inches  of  length  into  squares.  Cut  the  squares 
apart,  and  lay  aside  for  patching  in  paper  (Fig.  6). 


Fig.  6.  — Measuring  and  paper  folding. 


To  represent  patching  on  paper  :  — 

Give  to  each  pupil  a  piece  of  thin  manilla  paper  large  enough  to  cut 
from  it  a  strip  4  in.  x  8  in.,  to  represent  the  size  of  the  paper  or  cloth 
to  which  the  patch  is  applied.  Fold  this  strip  into  two  4  in.  squares ; 
fold  again  and  again,  making  2  in.  squares.  Now  there  are  eight  2  in. 
squares.  In  the  centre  of  one  of  the  4  in.  squares  cut  an  irregular 
hole  to  represent  a  worn  place  (Fig.  7).  Cut  another  strip  of  paper 
3  in.  x  9  in.  Fold  and  cut  this  into  3  in.  squares  for  patches. 
Crease  these  patches  into  four  equal  parts  (Fig.  8).  Mark  with  a  pencil 
on  paper,  or  with  a  pin  on  cloth,  the  length  or  selvedge  way  of 
material  and  of  patch.  Turn  a  fold  of  £  in.  on  the  patch,  then  place 
the  centre  of  the  patch  directly  over  the  centre  of  the  worn  place, 
making  the  creases  on  material  and  patch  match  perfectly,  continuing 


i8 


PROGRESSIVE  LESSONS  IN  NEEDLEWORK. 


the  preparation  for  sewing  as  described  in  answer  to  question  45.  On 
the  second  4  in.  square  make  a  stitched-in  patch  as  described  in  answer 
to  question  49.  When  this  has  been  done  satisfactorily  in  plain  paper, 
give  the  class  paper  marked  with  even  and  uneven  stripes.  A  striped 
paper  of  German  manufacture  has  been  found  very  good  for  this  purpose. 
Several  kinds  of  patches  may  be  first  taught  upon  paper. 


PATCH 


Fig.  7-  —  Paper  folded  on  dotted  lines  for  patching. 


Fig.  8. 


After  patching  on  paper  has  been  taught,  the  blackboard  may  be 
profitably  used.  Younger  pupils  are  interested  in  watching  the  teacher 
as  she  makes  drawings  to  represent  a  tier  or  an  apron  having  a  worn 
place,  and  a  patch  to  mend  it.  Dotted  lines  across  the  worn  place  and 
the  patch  show  folds  which  are  to  be  applied  to  one  another. 

Now,  giving  a  ruler  and  pencil  to  every  pupil,  let  her  draw  and  cut 
from  striped  paper  a  3  in.  patch ;  turn  down  \  in.  on  the  four  sides. 
Then  give  to  each  pupil  a  small  pattern  of  a  tier  cut  in  striped  paper, 
with  a  worn  place  cut  upon  it.  Baste  the  patch  on  the  right  side  of 
the  tier,  making  the  striped  lines  on  the  tier  and  the  striped  lines  on 


SECOND    YEAR'S  SEWING.  !g 

the  patch  match  perfectly,  the  centre  of  the  patch  being  exactly  over  the 
centre  of  the  worn  place.     Baste  |  in.  from  the  edges  of  the  patch. 

A  patch  well  matched  is  less  conspicuous  hemmed  to  the  outside  of 
most  garments ;  on  white  and  many  other  kinds  of  cloth,  it  is  better 
to  sew  the  patch  to  the  wrong  or  under  side,  as  described  in  answer  to 
question  45. 


Fig.  9.  —  Overcasting  the  right-hand  side,  making  cross-stitches. 


Buttonhole  :  — 

Although  the  buttonhole  is  a  very  difficult  part  of  the  work  for 
young  children,  if  the  method  of  making  it  is  early  learned  it  is  a  great 
help  to  careful  sewing,  and  can  be  practised  on  canvas  in  the  early  part 
of  the  second  year. 

A  fine  needle  and  thread  should  be  used  in  overcasting  a  button- 
hole  on  cloth,  because  the  edges  may  be  overcast  twice  with  a  fine  thread, 
and  these  stitches  will  not  show  under  the  buttonhole  stitch  when  it  is 
made  with  the  coarser  thread. 

A  buttonhole  should  be  made  with  one  needleful  of  thread,  if  possible. 
In  case  of  accidental  breaking,  it  can  be  joined  underneath  by  a  running 
stitch,  while  the  unthreaded  end  is  firmly  held  with  the  work  by  the  thumb 


20 


1'ROGRESSIV.E  LESSONS  IN  NEEDLEWORK. 


and  forefinger  of  the  left  hand,  and  the  needle  put  through  the  upper  side 
in  the  loop  of  the  last  stitch,  making  the  joining  perfect.  Diagrams  of  this 
work  should  be  drawn  upon  the  blackboard. 

Explain  the  use  of  the  buttonhole  scissors,*  and  show  how  to  find  the 
length  needed  for  the  buttonhole  by  measuring  across  the  button  ;  then 
give  the  class  a  piece  of  ruled  paper  3  in.  x  5  in.,  and  let  them  fold  or 
double  this  paper  across  the  lines  ;  on  one  of  these  lines  make  a  dot 
|  in.  from  the  folded  edge.  Now,  with  the  pointed  end  of  the  scissors, 
let  the  pupil  make  a  small  hole  at  the  dot,  and  cut  a  perfectly  straight 
slit  the  length  desired  for  the  buttonhole,  using  the  ruled  line  as  a  guide. 
In  order  to  acquire  skill  for  well-finished  work,  the  teacher  should  impress 
on  the  pupils  the  necessity  of  grasping  the  work  firmly  between  the  thumb 
and  forefinger  of  the  left  hand,  especially  when  working  the  buttonhole, 
having  the  thumb-nail  just  below  the  point  where  the  needle  is  to  be 
inserted. 

IV. 
Running  or  gathering :  — 

When  a  longer  piece  of  cloth  is  to  be  sewed  to  a  shorter  piece  of 
cloth  to  give  additional  fulness,  gathers  are  used,  as  in  frills  and  flounces  ; 
skirts  are  gathered  into  waistbands ;  sleeves  are  gathered  into  wristbands, 
etc.  Test  the  firmness  of  the  cotton  before  beginning  to  gather. 

Gathering  should  not  be  undertaken  until  the  running  stitch  can  be 
well  done.  A  piece  to  be  gathered  should  be  taken  from  the  width  of 
the  cloth,  as  the  fulness  is  easier  to  arrange,  and  the  stroking  has  more 
effect  upon  the  width  than  the  length.  A  binding  should  be  taken 
lengthwise  of  the  cloth,  because  it  will  not  stretch.  These  points  must 
be  carefully  explained  to  the  class. 

The  next  step  is  the  careful  marking  of  the  half  and  quarter  measure 
of  the  ruffle  and  the  band  with  a  cross-stitch.  The  gathering  thread 
should  be  coarser  than  the  thread  of  the  cloth.  The  thread  should  be 

*  Buttonhole,  scissors  are  not  found  in  every  home;  and  for  that  reason,  it  would  be  better 
to  use  ordinary  scissors  in  this  lesson. 


SECOND    YEAR'S  SEWING. 


21 


a    little    longer   than    the    piece    to    be    gathered,    and    the    needle    large 
enough  to  carry  the  thread  easily. 

The  thread  is  fastened  firmly  about  a  pin  at  the  end  before  stroking  is 
begun  (see  question  and  answer  64),  as  that  part  of  the  work  cannot  be 
well  done  if  the  thread  is  loose.  A  large  needle  or  pin  should  be  used 
for  stroking,  as  a  fine  one  would  tear  the  cloth,  which  may  b*  done  also 
by  too  hard  stroking.  Any  scratching  sound  is  the  sign  that  the  stroking 
is  too  hard. 

WORK    BAG    (Fig.  10). 

To  hold  this  and  the  following  year's  work,  a  bag  is  made  of  printed 
calico  with  a  pocket  on  one  side  for  the  thimble,  etc. 


Making  the  bag:  — 

Tear  the  cloth  lengthwise  into 
halves.  Double  one  strip  of  cloth  in 
the  centre  and  oversew  the  selvedges. 
Stitch  the  raw  edges  together  and 
overcast.  Make  a  hem  |-  in.  wide  at 
the  top.  The  pocket  can  be  made  of 
a  small  piece  of  calico  3  in.  wide  and 
4  in.  long  with  a  hem  I  in.  wide. 
When  a  pupil  has  learned  to  make  a 
buttonhole,  let  her  make  one  in  the 
middle  of  this  hem,  lengthwise  with  the  pocket  ;  turn  in  \  in.  of  the 
three  raw  edges  ;  now  the  pocket  is  3  in.  long  and  2\  in.  wide,  and  is 
hemmed  to  the  bag,  the  hem  of  the  bag  being  a  guide  to  the  placing 
of  the  pocket.  The  thimble,  small  spool  of  silk,  etc.,  can  be  carefully 
kept  in  this  pocket. 


Fig.  io.  — Work  bag. 


22  PROGRESSIVE  LESSONS  IN  NEEDLEWORK. 

A  small  piece  of  tape  i  in.  square  is  sewed  on  the  inside  of  the  bag, 
as  a  stay  for  the  button.  The  button  is  sewed  on  the  bag,  opposite  to  the 
buttonhole  in  the  pocket.  Now  the  pupil  first  prints  with  a  pencil  and  then 
stitches  her  name  on  a  piece  of  tape,  which  is  sewed  directly  over  the  pocket. 
Work  bags  should  never  be  drawn  with  strings,  as  that  will  crush 
the  work  and  make  it  look  untidy.  After  the  work  is  neatly  placed 
inside,  and  a  pupil  selected  to  collect  them,  the  bags  should  be  placed 
in  a  box  or  drawer  until  the  next  lesson. 

If  this  care  is  taken,  the  work  can  be  more  quickly  distributed,  and 
pupils  may  begin  to  work  in  a  very  short  time  after  being  seated.  To 
allow  children,  who  are  working  at  the  same  point  on  their  samplers,  to 

sit  near  each  other,  has  been  found  to 
excite  the  ambition  of  all. 

A  pupil  should  always  have  in  her 
bag"  pieces  of  white  cotton,  silesia,  and 
wool.len  cloths,  in  which  one,  two, 
three,  or  more  buttonholes  have  been 
cut.  Whenever  there  come  moments 


Fig.  ii.  —  Metal  measure. 

of  waiting  for  the  teacher,  or  at  other 

unoccupied  times,  the  pupil  should  practise  buttonhole  making  on  these, 
according  to  the  rules  which  have  been  given  ;  a  perfectly  made  button- 
hole being  given  her  as  a  model. 

A  metal  measure  of  the  shape  here  shown  (Fig.  11)  will  be  found  very 
useful.  It  combines  measurements  of  the  various  tucks  and  hems  used  in 
samplers. 

DESCRIPTION    OF    SAMPLER    No.    2. 
MATERIALS    REQUIRED. 

Eight  strips  of  unbleached  cotton  cloth  torn  lengthwise,  one  torn 
7  in.  x  3  in.  Two  pieces  of  the  same  3  in.  square,  for  patches.  i|  in. 
square  of  the  same,  for  a  gusset.  One  strip  of  striped  or  checked  cloth 


SECOND    YEAR'S  SEWING.  2$ 

9  in.  x  3  in.  with  selvedge  on  one  side.  Two  pieces  of  the  same  3  in. 
square,  for  patches.  Red,  yellow,  and  blue  spool  cotton,  No.  40.  Needles 
No.  8.  One  porcelain  button.  Estimated  cost  of  unbleached  sampler,, 
15  cts. 

DIRECTIONS    FOR    MAKING    THE    SAMPLER. 
I. 

Basting.  —  Baste  two  strips  together  |   in.  from  the  top  edge  with  red  cot- 
ton, the  stitches  ^  in.  long  and  the  spaces  between  ^  in.  long. 


in.  below,  a  second  line  of  basting  in  yellow. 


.1   in.  below,  a  third  line  of  basting  in  blue. 

-J  in.  below,  a  fourth  line  of  basting,  like  the  second  line.     Make 
these  basting  stitches  of  different  lengths,  as  on  canvas  samplers. 


Stitching  and  back-stitching.  —  Stitch  with  yellow  and  blue  cotton  close  below 
the  first  basting,  and  with  yellow  and  red  below  the  fourth  basting. 

in. 

Hem  felling. —  Cut  off  the  under  piece  of  cloth  \  in.  below  the  line  of  back- 
stitching,  turn  the  edge  under  ^  in.  at  a  time  with  needle,  and  hem 
with  three  colors. 

IV. 

Running.  —  Three  rows  of  running  stitches   below  this,  one  of  each  color, 

red,  yellow,  and  blue.     Keep  the   needle  in  the  cloth  all  the  time,  as 

in  basting. 

v. 
Hemming.  —  Take  a  third  strip  of  cloth,  turn  one  edge  down  -J-  in.  and  turn 

again  with  a  metal  measure  |  in.  ;   baste  edge  of  hem,  then  hem  with 

three  colors. 


24  PROGRESSIVE  LESSONS  IN  NEEDLEWORK. 

VI. 

Oversewing.  —  Turn  down  the  edge  of  the  first  strip  -|  in.  and  baste  to 
edge  of  hem  ;  then  oversew  with  three  colors. 

VII. 

French  seam. —  Put  a  fourth  strip  to  the  wrong  side  of  the  third  and  baste 
on  the  right  side,  \  in.  from  the  top ;  make  a  line  of  two  running 
stitches  and  a  back-stitch  just  below  the  basting ;  cut  off  the  edges 
\  in.  above  the  sewing  and  turn  the  seam  the  other  side  out ;  crease 
hard,  stitch  with  three  colors  just  below  the  raw  edges  of  the  first 
seam,  so  as  to  close  them. 

VIII. 

Name. —  Print  the  pupil's  name  with  a  pencil  in  the  middle  of  this  strip, 
and  stitch  with  any  color  preferred  directly  on  the  pencil  marks. 

IX. 

Felling.  —  Baste  the  raw  edge  of  the  fifth  strip  to  the  fourth  -|  in.  below 
the  top  edge  and  stitch  with  the  three  colors ;  then  cut  the  edge  of 
the  under  side  \  in.  above  the  line  of  stitching,  and  the  edge  of  upper 
side  \  in.  above  stitching.  Open  the  seam  flat,  turn  the  broader  edge 
under  with  the  needle,  and  hem  with  three  colors,  making  a  fell. 

x. 

Patching.  —  Cut  two  small  holes  3  in.  from  either  end  of  the  last  strip 
and  midway  between  the  fell  and  the  selvedge.  Mend  one  hole  with 
hemmed-on  patch  (question  and  answer  45),  and  the  other  with 
stitched-in  patch  (question  and  answer  49). 

XI. 

Patching.  —  Take  a  piece  of  striped  or  checked  cloth  for  the  sixth  strip, 
cut  holes  as  in  the  fifth  strip,  and  make  a  stitched-in  patch  and  an 


SECOND    YEAR'S   SEWING. 


Fig.  12.  —  Sampler  No.  2. 


26  PROGRESSIVE   LESSONS  IN  NEEDLEWORK. 

oversewed   patch   (question    and    answer    50),  matching   the    stripes  or 
checks. 

XII. 

Oversewing.  —  Turn  down  one  edge  \  in.  and  baste  to  the  selvedge  of  the 
last  strip,  then  oversew  with  two  colors,  leaving  2\  in.  unsewed. 

XIII. 

Gusset.  —  A  gusset  is  put  into  the  opening  between  the  unbleached  cotton 
and  the  striped  or  checked  cloth,  according  to  question  and  answer  53. 

XIV. 

Felling.  —  The  sixth  strip  of  unbleached  cotton  is  then  basted  to  the 
striped  cloth  and  a  fell  made,  using  running  and  back  stitch,  instead 
of  stitching,  for  the  first  seam  of  the  fell. 

xv. 

Tucking.  —  Two  ^  in.  tucks  are  made  in  this  strip  according  to  question 
and  answer  55. 

XVI. 

Overcasting  seams.  —  The  seventh  strip  is  joined  by  a  running  and  back 
stitched  seam,  the  edges  of  which  are  evenly  cut  and  overcast  with 
three  colors. 

xvn. 

Putting  on  a  band.  —  The  other  edge  is   gathered,  stroked,  and  put  into  a 

band  2  in.  x  4^   in.,  as  described  in  questions  and  answers  61   to  66. 

A  buttonhole  is  then  cut  in  the  band  and  overcast  with  No.  70 

cotton  (questions  and  answers  67  to  70),  and  worked  with  any  color 

desired,  40  cotton  (questions  and  answers  71   to  73). 

A  button    is    sewed    on    according   to   questions   and   answers    74 
.to  75. 

XVIII. 

Hemmed  and  whipped  ruffle.  —  Make  a  \  in.  hem  on  one  edge  and  on  the 


SECOND    YEAR'S   SEWING. 


sides  of  the  eighth  strip.  Mark  the  centre  with  a  cross-stitch  with 
the  blue  cotton.  Mark  the  centre  of  the  band  in  the  same  way. 
Whip  the  raw  edge  of  the  ruffle  and  oversew  to  the  band  (question 
and  answer  76  and  77).  (Fig.  12.) 


QUESTIONS    AND    ANSWERS. 

1.  Cloth.     What  kind  of  cloth  is  now  used?     Ans.   Unbleached  cloth. 

2.  Why  is  this  kind  of  cloth   used  ?      Ans.    Because  it   is   made,  without 

dressing  and  is  easier  to  handle  while  learning  to  sew  and  to 
prepare  the  seams. 

3.  Is  unbleached  cloth  the  only  kind  made   without   dressing?     Ans.  No, 

bleached  cotton  and  a  great  many  kinds  of  cloth  are  made 
without  dressing.  (Memorandum  to  Teacher.  Show  a  kind  of 
fabric  made  with  and  without  dressing.) 

4.  Then    why    is    not    undressed,     bleached     cotton     now     used  ?      Ans. 

Because  undressed,  bleached  cotton  is  made  with  finer  threads 
and  is  not  so  easy  to  prepare  seams  upon ;  a  fine  needle  must  be 
used  when  using  fine  cloth. 

5.  What  number  needle  and  thread   is   used    on    this    unbleached    cloth  ? 

Ans.  No.  8  needle  and  No.  40  thread  is  used. 

6.  What  length  of  thread  should   be  used?     Ans.    A  thread   10  in.  long 

should  be  used  on  the  unbleached  sampler.  (Memorandum  to 
Teacher.  Make  plain  to  the  pupils  how  time  is  wasted  by  drawing 
a  long  thread  through  the  cloth,  how  work  can  be  better  and  more 
rapidly  done  with  a  short  thread.) 

7.  How    many    different    colored    threads    are    used    for    this    sampler? 

Ans.  Three  different  colors  are  used.  Red,  blue,  and  yellow  or 
orange. 

8.  Why    are    these   different  colors    used?      Ans.    To    make    the    stitches 

plain,  and  show  how  neatly  thread  can  be  joined. 


28  PROGRESSIVE  LESSONS  IN  NEEDLEWORK. 

9.  How  can  twisted  or  kinked  thread  be  avoided  or  remedied?  Ans. 
Kinking  can  be  avoided  by  not  twisting  the  thread  in  sewing ; 
if  kinking  does  come,  drop  the  threaded  needle  while  fastened  to 
the  work,  and  the  weight  of  the  needle  will  unwind  all  extra 
twist.  (Practice  for  position  when  sewing,  etc.  See  exercise  in 
first  year.) 

10.  What  is  the  first  work  upon  this  sampler  ?      Ans.    The  first  work  is 

basting,  with  stitches  of  three  different  lengths. 

11.  How   is   a   seam    formed?      Ans.    A    seam    is   formed    by   basting    or 

sewing  together  two  or  more  pieces  of  cloth. 

12.  What   is  the  difference   between   sewing  and  basting  a  seam?      Ans. 

Basting  is  slight  sewing,  with  long  or  short  stitches,  while  sewing 
is  made  with  small  firm  stitches. 

13.  How  is  a  seam  basted  for   stitching   or   back-stitching?      Ans.    It    is 

basted  ^  in.  from  the  edge. 

14.  How  long   are   basting   stitches  made  for  a  stitched   or   back-stitched 

seam  ?       Ans.    For    a    stitched    or    back-stitched    seam,    make    the 
basting  stitches  |  in.  long  and  the  space  between  ^  in. 

15.  In    basting    for   seams    should    the 

thread  be  drawn  through  the 
cloth  after  taking  each  stitch  ? 
Ans.  No ;  work  with  the  needle 


in     the     cloth      throughout      its  Fig.  13.- Basting, 

length  (Fig.    13). 

How  is  this  done?  Ans.  After  making  seven  stitches,  the  cloth 
becomes  crowded,  and  then  the  point  of  the  needle  in  the  cloth 
should  be  held  between  the  thumb  and  first  finger  of  the  left 
hand,  and  the  first  four  stitches  taken  should  be  pushed  off 
the  eye  of  the  needle  with  the  thumb  and  first  finger  of  the 
right  hand.;  then  three  more  stitches  should  be  made,  and  those 
nearest  the  eye  pushed  back  in  the  same  way,  until  the  seam  is 


SECOND    YEAR'S  SEWING.  2<) 

basted.  Gathering  is  done  in  the  same  way,  but  with  small 
stitches.  (Illustrate  on  the  blackboard.) 

17.  Why    is    it    better   to    baste   for   a    seam   in   this  way?     A/is.   Because 

it  saves  much  time,  and  makes  a  straighter  guide  by  which  to 
sew.* 

18.  Is  a   hem   basted  in  this  way?      Ans.   No,  a  hem  has  a  straight  edge 

which  can  be  the  guide,  and  the  basting  line  is  made  -^Q  in. 
from  the  lower  edge  of  the  hem  with  one  or  more  stitches  on 
the  needle  before  the  thread  is  drawn  through  the  cloth,  making 
the  basting  stitch  ^  in.  long  and  the  spaces  between  -^  in. 
long. 

19.  How  is  basting  done  for  oversewing?      Ans.   The  bastings  are  made 

for  oversewing  ^  in.  below  the  top  edge  —  the  stitches  |  in.  long 
and  spaces  between  ^  in.  long. 

20.  Why    is    basting  for   oversewing   made    near   the    edge?      Ans.    That 

the  edges  may  be  held  together  firmly. 

21.  When    a    seam    is    basted,    where    is    the    line    of    stitching    made? 

Ans.  The  stitching  is  always  below  and  as  near  the  basting  as 
possible.  * 

22.  Is  a  knot  used   in   beginning  to  stitch  ?      Ans.    No  ;    in  beginning   to 

stitch  the  thread  is  fastened  on  the  under  side  by  one  stitch  and 
a  back-stitch. 

23.  What   colors  are  used   in   stitching  the  first   line  ?      Ans.    Yellow  and 

blue  are  used. 

24.  What    kind    of   sewing  is    made   under    the    fourth    line    of    basting? 

Ans.  Back-stitching  is  made  under  the  fourth  line  of  basting. 

25.  What     is     the     difference     between     stitching     and     back-stitching  ? 

Ans.  In  stitching  the  stitches  touch,  in  back-stitching  there  is 
a  small  space  between  the  stitches  (Figs.  14  and  15). 


*  Fabrics  that  crush  easily  cannot  be  basted  in  this  way. 


PROGRESSIVE  LESSONS  IN  NEEDLEWORK. 


Fig.  14.— Stitching.* 


26.  What  colors  are  here  used  ?      Ans.   Yellow  and  red  are  used. 

27.  How  is  a  stitched  or  back-stitched  seam   finished  ?      Ans.   A   stitched 

or  back-stitched  seam 
is  finished  by  sewing 
back  over  the  last  three 
stitches. 

28.  When  should  stitching  and 

when  back-stitching  be 
used  ?  Ans.  When  much 
wear  or  strain  comes 
upon  a  seam,  it  should  be  stitched,  otherwise  it  can  be  back-stitched. 

29.  How   are    running   stitches    made  ?      Ans.   The    same  way  as    basting, 

but   with  smaller  stitches. 

30.  Why  is  the  needle  not  drawn  through  the  cloth  at  every  few  stitches 

in  making  running  stitches  ?  Ans.  In  running  for  gathering  the 
needle  is  not  drawn  out  until  a  certain  part  of  the  cloth  is  gath- 
ered or  the  needleful 
of  thread  is  used,  be- 
cause the  longer  the 
needle  is  kept  in  the 
cloth,  the  straighter 
will  be  the  seam  and 
the  quicker  the  work. 
But  in  running  tucks,  where  the  cloth  is  double,  the  needle  is 
taken  out  every  third  or  fourth  stitch  according  to  the  thickness 
of  the  cloth. 

31.  How  can  a  broad  hem   be  kept   straight?     Ans.    By  using  a -measure 

of  the  right  width  and  basting  carefully. 

*  Stitching,  or  back-stitching,  as  it  is  sometimes  called,  is  the  work  which  the  sewing  machine 
imitates  so  accurately;  two  definitions  are  here  given,  because  there  are  two  different  methods  of 
working  it,  —  one  where  strength  is  the  important  feature,  and  one  where  strength  is  not  so  important. 


Fig.  15.— Back-stitching. 


SECOND    YEAR'S  SEWING. 


Fig.  16. —  Hem  turned. 


Fig.    17.  —  Placing    work    on    the 
finger  for  hemming. 


32.    How  should    the    hem   be   held   for   sewing  ?     Ans.    The   edge   of   the 
hem  to  be  sewed  is  placed  over  the   first   finger   of  the   left    hand 


Fig.  18.  — Held  over  the  finger 
for  hemming. 


Fig.  19.  —  Needle  pointing  to 
the  centre  of  left  thumb- 
nail, when  hemming. 


|   in.  from   the   end    of   the   finger,   held   in    place  with    the    thumb 
and   second  finger  (Figs.    16,    17,   18).       Sew  with   the  needle  point- 


Hemming. 


Fig.  20. 


Beginning. 


PROGRESSIVE  LESSONS  IN  NEEDLEWORK. 

ing  to  the  middle  of  the  edge  of  the  left  thumb-nail  (Fig. 
19).  Make  the  stitches  small,  but  to  show  distinctly  on  the 
under  side.  (Illustrate  on  the  blackboard.) 


Fig.  21.  — Work  held  for  oversewing. 


Fig.  22. —  Oversewing. 


33.  How   should    the   work    be    held    for    oversewing  ?     Ans.    The    work 

should  be  held  around  the  end  of  the  first  finger  of  the  left  hand, 
and  kept  firmly  in  place  with  the  thumb  and  second  finger  (Fig.  21). 

34.  How  should  the  needle  be  pointed  in  oversewing?     Ans.  In  oversewing 

the  needle  should  be  pointed  directly  toward  the  chest  (Fig.  22). 

35.  What  must  always  be  done  after  the  seam  is  oversewed  ?     Ans.   Press 

the   stitches   flat    on    the   wrong    side,   with    the    right    thumb-nail, 
to  finish  the  oversewing   seam. 

36.  When     is     an     oversewed     seam 

used  ?  Ans.  An  oversewed 
seam  is  used  in  joining  two 
selvedges  or  two  folded  edges. 

37.  What    is    a    selvedge  ?       Ans.    A 

woven  or  finished  edge. 

38.  What    is    a    raw   edge?      Ans.    A 

cut  or  torn  edge. 

39.  What  is  overcasting  ?     Ans.   Over- 

casting   is    the    same    as    over- 
sewing,   the    stitches    being    larger,    and    is    used    over    raw    edges 
to  prevent  them  from  ravelling  (Fig.  23). 


Fig.  23. —  Overcasting. 


SECOND    YEAR'S  SEWING. 


33 


40.  How  is  the  thread  joined  in  overcasting  ?     Ans.  Tie  a  knot  in  the  end 

of  the  thread,  and  put  it  between  the  two  edges  of  the  cloth,  so 
that  it  cannot  be  seen. 

41.  When  is  a  French  seam  used?     Ans.    A  French  seam  is  used  on  deli- 

cate material  to  conceal  the  raw  edges. 

42.  In  making  a  fell,  how  should  the  work  be  held  in  order  to  turn  the  edge 

with  the  needle  ?     Ans.    The  work  should  be  held  as  for  hemming. 

43.  How  should  the  needle  be  held  in  order  to  turn  the  edge  of  the  fell  ? 

Ans.  The  needle  should  be  held  nearly  parallel  with  the  seam,  the  eye 
resting  on  the  thimble,  and  grasped  firmly  near  the  centre  by  the 
thumb  and  forefinger  of  the  right  hand.  Thus  held,  the  edge  of 
the  fell  should  be  turned  under  with  the  point  of  the  needle  £  in.; 
when  that  is  hemmed  another 
£  in.  is  turned,  until  the  seam  is 
finished  (Fig.  24). 

44.  When    is    a    fell    used  ?      Ans.    A 

fell    is    used    when    a   flat    seam 

without    raw  edges    is    required.  Flg-  24< 

45.  How  is  a  hemmed-on  patch  made  ?     Ans.    A  square  piece  of  cloth  is 

turned  down  ^  in.  on  its  four  edges,  and  basted  over  the  worn  or  torn 
place,  on  the  under  side,  being  careful  that  the  length  and  width 
threads  match  the  cloth,  and  then  neatly  hemmed  down.  On  the 
upper  or  right  side  the  cloth  is  folded  over  ^  in.  inside  the  hem- 
ming stitches  and  creased  hard  with  the  thumb  nail  ;  these  creases 
form  a  square  around  the  tear  (see  dotted  line,  Fig.  26).  A  pin 
is  put  through  the  cloth  at  the  four  corners  of  this  square.  Bias  cuts 
are  then  made  with  the  scissors  from  the  torn  place  to  each  of 
these  pin-holes,  the  edges  x:ut  off  to  J  in.  from  the  creases,  this 
j-  in.  turned  under  and  hemmed  to  the  patch. 

46.  What    is    a    bias    cut  ?      Ans.    A   bias   cut    is   a   cut   made    diagonally 

across  the  warp  and  the  woof. 


34 


PROGRESSIVE  LESSONS  IN  NEEDLEWORK. 


w\ 

.*v\\\\\v>\\\\\\\\\\\\\\\min\H\V"i\v\n\iiiiiiiimtmrtij 

f                                                                         \ 

\                     ! 

1  t,_™^^__™_  j 

Pig-  25. —  A  hemmed-on  patch.    Under  or  wrong  side  of  cloth. 

flliltlirtfflllllllllWMIiitiM^ 


Fig.   26.  — A  hemmed-on  patch.      Upper  or  right  side  of  cloth,   showing 
one  half  of  worn  part  cut  away. 


SECOND    YEAR'S  SEWING. 


35 


71 


47.  What    is   the   warp?      Ans.    The    threads    that    run    up   and    down    or 

lengthwise  of  the  cloth  are  called  the  warp. 

48.  What   is   the   woof  ?      Ans.    The   threads   that    run    across    the   cloth 

from   one  selvedge  to  the  other  are  called  the  woof.     (Show  these 
on  the  blackboard.) 

49.  How  is  a  stitched-in  patch  made  ?     Ans.  The  worn  or  torn  part  is  first 

cut  out  in  a  square  (see  Fig.  28).  The  straight  edges  of  the  hole  are 
made  true  by  a  drawn  thread  ;  then  two  adjoining  sides  are  folded 
evenly  together,  and  a  bias  cut  \  in.  is  made  at  each  of  the  four  cor- 
ners, and  the  edges  of  the  hole  thus  cut  are  folded  and  creased  down  on 
the  under  side  \  in.  (see  dotted  lines  in  Fig.  28).  Then  a  square  piece 
is  basted  to  these  creases,  so  that  it  lies  perfectly  smooth  at  the  corners. 
Be  sure  to  begin  and  end  the  basting  on  the  patch,  to  make  smooth 
and  square  corners  (Figs.  27,  28, 
29>  3°»  31)-  Represent  this  on  the 
blackboard  in  the  different  stages. 

50.  How  is  an   oversewed    patch    made  ? 

Ans.  The  torn  part  is  cut  out 
and  prepared  in  the  same  way  as 
for  a  stitched-in  patch  ;  then  the 
square  piece  of  cloth  to  be  set 
in  is  turned  down  by  a  thread 
evenly  on  one  side,  and  over- 
sewed, on  the  under  side,  to  one 
side  of  the  prepared  hole  from 
corner  to  corner.  The  second, 
third,  and  fourth  sides  are  oversewed  in  the  same  way.  Great  care 
must  be  taken  to  turn  the  edges  evenly,  so  that  the  patch  may 
be  flat  when  finished  (Figs.  32,  33).  (Show  this  on  the  blackboard.) 
51  What  is  a  gusset  ?  Ans.  A  gusset  is  a  piece  of  cloth  used  to 
strengthen  the  ends  of  a  seam. 


Fig.   28.  —  Worn    place    cut    out ;    the   cloth 
prepared  for  a  stitched-in  patch. 


37 


n 


SECOND    YEAR'S  SEWING. 


39 


52.    How    is    a   gusset    cut?       Ans.    Cut    a    piece    of    cloth    \\   in.   square, 
cut  off  ^  in.  diagonally  from  one  corner  (Figs.   34,   35,   36,   37,   38). 


53.    How  is  a  gusset  sewed  in  ?      Ans.   Place  the  apex  of  the  triangle  at 
the  end  of  the    scam.      Oversew  to    the  cloth    -.V   in.    on  each  side, 


40  PROGRESSIVE  LESSONS  IN  NEEDLEWORK. 

beginning  at  the  apex.  The  remaining  part  is  folded  over  on  the 
under  side  of  the  work,  carefully  basted  to  lie  smooth,  and  hemmed 
down  (see  Figs.  37,  38). 

54.  Why   does    a    gusset    make    the    seam    stronger  ?       Ans.    A    gusset 

makes  the  seam  stronger  because  its  folded  edge  is  on  the  bias, 
and  if  it  is  strongly  sewed  at  the  corners,  it  is  impossible  to 
tear  it. 

55.  How  is  a  tuck   made?       Ans.   A  tuck  is  made  by  folding  the  cloth 

straight  by  a  thread  from  edge  to  edge,  and  basting  this  fold  at 
the  desired  width.  A  running  seam  close  below  the  basting  fin- 
ishes the  tuck. 

56.  How  are  the  stitches  made  in  basting  for  a  tuck  ?      Ans.  The  basting 

stitches  are  made  one  inch  long  for  a  tuck. 

57.  How  long  are  the   spaces  between?       Ans.    The  spaces  between   are 

-^  in.  long. 

58.  Why  should  the  stitches  be  longer  than  in  basting  an  ordinary  seam  ? 

Ans.  The  basting  stitches  should  be  longer  for  a  tuck  because  they 
make  a  better  guide  for  the  running  stitches,  which  must  be  very 
straight. 

59.  How  is  the  thread  joined  in  running  tucks  ?      Ans.    In  running  tucks 

make  a  tied  knot  that  can  be  easily  concealed  between  the  folds 
of  the  tuck  three  stitches  back. 

60.  What  is  the  use  of  a  tuck?      Ans.    A  tuck  is  used  for  ornament,  or 

in  order  that  the  garment  may  be  lengthened  at  some  future  time 
by  letting  it  down. 

61.  What   is   gathering?       Ans.    Gathering   is    making   a   line   of   running 

stitches,  and  drawing  the  thread  so  as  to  full  or  gather  the  cloth 
(Fig.  39,  A  and  B). 

62.  What    should    always    be    done    before    gathering  ?       Ans.    The    edge 

should  be  marked  in  halves  and  quarters  by  colored  cross-stitches 
(see  Fig.  41,  A). 


SECOND    YEAR'S  SEWING. 


63.  What  should  always  be   done   after   gathering?       Ans.    After  gather- 

ing, the  gathers  should  be  stroked  or  laid. 

64.  How  is  the  stroking  done  ?      Ans.   For  stroking,  the  gathers  must  be 

pushed  close  together  on  the  thread,  and  the  loose  end  of  the  thread 


Fig-  39.  A.— Gathering. 


fastened  firmly  about  a  pin  set  at  the  end  of  the  running,  so  that 
it  cannot  slip.  Then. the  work  is  held  between  the  thumb  and  first 
finger  of  the  left  hand,  the  thumb  being  directly  over  the  gather- 
ing thread ;  and  with  a  large  needle  or  pin  in  the  right  hand,  work- 


39.  B.  — Running. 


Fig.  40  — Gathers  stroked  or  laid. 


ing  from  left  to  right,  each  gather  is  pressed  separately  under  the 
left  thumb,  while  the  pin  strokes  down  a  short  distance  between 
it  and  the  next  gather  (Fig.  40).  Then  turn  the  work  and  stroke 
above  the  gathering  stitches  in  the  same  way,  but  never  so  violently 
as  to  make  a  scratching  sound  with  the  needle. 


PROGRESSIVE  LESSONS  IN  NEEDLEWORK. 


65.  How  is  a  gathered  piece  of  cloth  prepared  for  sewing  to  a  band,  or 
binding  ?  Ans.  In  preparing  gathers  for  sewing  to  a  band,  find 
the  middle  of  the  band,  and  mark  it  with  a  line  of  small  basting 
stitches  (see  Fig.  41,  B)  ;  pin  the  middle  of  the  gathered  piece  to 


Fig.   41.  — Clc 


match  band. 


the  middle  of  the  band,  placing  the  two  right  sides  together.  Then 
pin  the  ends  of  the  gathered  piece  to  the  same  edge  \  in.  from 
the  ends  of  the  band.  This  \  in.  of  the  band  is  left  to  turn  in,  to 
finish  the  ends.  Then  place  the  gathers  evenly  in  each  half  of  the 
band,  and  baste  the  gathered  piece  and  band  together,  holding  the 
gathers  toward  the  person  (Fig.  42). 


SECOND   YEAR'S  SEWING. 


43 


66.  How  should  gathers  be  sewed  to  a  band  ?  Ans.  Fasten  the  ends  of 
the  band  securely  to  the  gathered  piece  by  oversewing  together  the 
edge  of  the  gathered  piece  and  band  from  the  right  and  left  top 
corners  down  to  the  line  of  gathers ;  here  take  three  oversewing 
stitches.  (If  this  is  done  securely,  the  garment  will  wear  out  before 
the  band  rips  at  the  ends.)  Now,  holding  the  gathers  toward  the 
sewer,  make  a  back-stitch  over  each  gather.  The  basting  is  then 
taken  out.  Now  turn  the  band  up  from  the  gathers,  crease,  and 


Fig.  42.  — Cloth  basted  to  the  band. 


baste  the  band  in  position  of  Fig.  43  ;  turn  in,  baste,  and  oversew 
the  ends  of  the  band,  the  loose  side  of  which,  having  been  turned 
over  ^  in.,  must  be  pinned  down  over  the  line  of  stitching.  Then 
baste  and  hem  it  down.  In  hemming  down  this  edge  of  the  band, 
take  up  one  gather  in  each  stitch  *  (Fig.  44). 

67.  How    should    a    buttonhole   be    cut?      Ans.    A    buttonhole    should    be 

cut  in  double  cloth,  the  end  generally  \  in.  from  the  edge  of  the 
cloth,  and  as  long  as  the  diameter  of  the  button. 

68.  What   is  the  first  thing  to  be  done  to  a  buttonhole  after  cutting  it  ? 


*  Holding  the  work  as  shown  in  Fig.  44. 


-    * 


44  PROGRESSIVE  LESSONS  IN  NEEDLEWORK. 

Ans.  The  buttonhole  should  be  overcast  immediately  after  being 
cut. 

69.  Where   is   the   overcasting   of   a   buttonhole   begun  ?      Ans.    Begin    to 

overcast  a  buttonhole  at  the  lower  left-hand  end,  which  is  found 
in  the  following  manner.  Place  the  buttonhole  lengthwise  on  the 
first  finger  of  the  left  hand,  with  the  folded  edge  towards  the 
knuckle,  and  point  the  finger  towards  the  chest.  The  right  side 
of  the  buttonhole  is  then  towards  the  right  hand  and  the  left  side 
towards  the  left  hand  ;  for  convenience,  the  end  of  the  buttonhole 
towards  the  knuckle  (i.e.  towards  the  folded  edge  of  the  cloth)  is 
called  the  upper  end,  and  the  end  towards  the  point  of  the  finger 
is  called  the  lower  end. 

70.  How  is  a  buttonhole  overcast  ?     Ans.    To  overcast  a  buttonhole,  hold 

it  lengthwise  of  the  left  forefinger,  keeping  that  pointed  to  the 
right,  and  having  the  folded  edge  of  the  cloth  toward  the  wrist. 
Then  begin  at  the  lower  left-hand  end  and  overcast  the  left-hand 
side.  Now  turn  the  buttonhole,  bring  the  folded  edge  to  the  end 
of  the  finger,  and  overcast  the  right-hand  side  (see  Fig.  45) ;  then 
back  in  cross-stitches  to  the  upper  end  of  the  buttonhole.  Here 
make  a  cross-bar  by  overcasting  one  stitch  to  the  right,  and  then 
one  stitch  to  the  left,  until  three  cross-stitches  have  been  made.* 
(This  makes  a  round,  strong  outer  end  to  the  buttonhole  when 
worked.)  Now  cross-stitch  the  left-hand  side  back  to  the  starting- 
point  (Fig.  46).  Put  the  needle  through  to  the  under  side,  take 
one  running  stitch,  and  cut  the  thread. 

Represent  on  the  blackboard  the  different  steps  of  preparing  and  the 
way  of  holding  a  buttonhole. 

71.  How   is    a   buttonhole    worked?     Ans.    From  the  lower   left-hand  end 

to  the  lower  right-hand  end,  then  a  straight  bar  is  made  across 
the  lower  or  inner  end.  See  lower  end  of  Fig.  46  B. 

*  See  upper  end  of  Fig.  46. 


SECOND    YEAR'S  SEWING. 


45 


72.  How  should  the  buttonhole  stitch  be  made  ?  Ans.  In  making  a 
buttonhole  stitch,  the  needle  is  put  through  the  cloth,  as  for  the 
overcasting,  at  the  lower  left-hand  end,  then  the  thread  from  the 


Fig.  43-  —  Cloth  oversewed,  and  stitched  to  the  band,  band  turned  up  and  basted. 


Fig.  44.  —  Showing  how  the  work  is  held,  and  position  of  needle  when  hemming  edge  of  band. 

eye  of  the  needle  is  brought  around  the  point  of  the  needle  from 
right  to  left,  and  the  needle  pulled  through,  bringing  the  loop  up 
straight  (Fig.  46  A).  The  stitches  should  be  made  very  near  to- 
gether, especially  at  the  round  end  (Fig.  46  H). 


46 


PROGRESSIVE  LESSONS  IN  NEEDLEWORK. 


73.  How  should  the  straight  bar  be  made  at  the  lower  end  ?  Ans.  Draw 
the  worked  edges  together  by  making  four  stitches,  one  over  the 
other,  across  the  lower  end  of  the  buttonhole,  then,  beginning  at 
the  right-hand  side,  make  five  buttonhole  stitches  covering  these, 
the  middle  stitch  directly  in  the  middle  between  the  two  sides  of  the 
buttonhole.  Fig.  46  B. 
Draw  these  steps  in  buttonhole  making  on  the  blackboard. 


Fig.  45- 


Fig.  46. 


Fig.  46  A. 


Fig.  46  B. 


SECOND   YEAR'S  SEWL\G. 


47 


74.  Where  should    the   button  be  sewed  on  ?     Ans.  The  button  should  be 
sewed  on  the  other  end  of  the  band  from  the  buttonhole,  directly 


Fig.  47- 

opposite   the    buttonhole,    the   edge    of    the    button    being    a    little 
inside  of  the  edge  of  the  band. 


Fig.  48. 


75.    How  should  the  button  be  sewed  on  ?      Ans.  To  sew  on   the  button, 
the  thread  should  be  doubled,  and  a  tied    knot    made  in   the  end  ; 


43  PROGRESSIVE  LESSONS  IN  NEEDLEWORK. 

then  the  needle  put  through  the  cloth  from  the  right  or  upper 
side,  leaving  the  knot  where  the  button  is  to  be  sewed.  Then 
put  the  needle  up  through  the  cloth  and  one  hole  in  the  button 
and  down  through  an  opposite  hole  until  the  needle  goes  through 
a  little  hard,  then  bring  the  needle  up  between  the  button  and 
the  cloth  and  wind  the  thread  three  times  around  the  thread  there, 
to  stem  the  button,  and  then  fasten  the  thread  on  the  wrong  side. 

76.  How  is  the  "whipping   done  ?     Ans.  After  cutting  the  edge  evenly  by 

one  thread  and  marking  with  a  cross-stitch  the  half  and  quarters, 
the  edge  of  the  ruffle  is  rolled  under  in  a  small,  hard  roll,  on  the 
wrong  side  between  the  thumb  and  first  finger  of  the  left  hand, 
one  inch  at  a  time,  and  stitches  like  hemming  stitches  are  made 
over  it,  except  that  the  needle  is  put  up  under  the  roll  and 
brought  out  at  the  top  of  the  roll  (Fig.  47).  At  every  fifth 
stitch  the  thread  is  held  firmly,  and  the  ruffle  is  fulled  "as  on 
a  gathering  thread. 

77.  How    is    this   ruffle    sewed    to   the    sampler  ?      Ans.    Pin    the    middle 

of  the  ruffle  to  the  middle  of  the  band;  holding  the  sampler 
toward  the  person,  oversew  the  ruffle  to  the  band,  sewing  from 
left  to  right  in  order  to  make  one  stitch  come  in  every  little 
groove  made  by  the  whipping  (see  Fig.  48). 

Although  the  pupils  have  learned  to  oversew  from  right  to  left,  the 
teacher  should  tell  them  that,  in  some  kinds  of  work,  a  better 
effect  will  be  produced  by  sewing  from  left  to  right ;  as,  over- 
casting woollens  that  fray  or  ravel  easily,  oversewing  a  whipped 
ruffle  to  a  band,  herringbone  stitch,  etc. 


CHAPTER   III. 
Third   Year's   Sewing. 

IN  the  third  year  the  sampler  is  made  of  fine  white  cotton.  For 
this  and  the  work  of  succeeding  years  on  bleached  cotton,  the  yard  wide 
Fitchville  or  Masonville  cloths  have  been  found  most  desirable  for 
handsewing,  being  without  dressing.  During  the  first  five  months  of 
this  year,  fifteen  minutes  of  the  first  hour  should  be  devoted  to  button- 
hole making  with  fine  cotton,  Nos.  50,  60,  and  70,  and  silk  twist. 
The  teacher  should  have  in  readiness  pieces  of  canvas  and  flannel, 
3  in.  x  8  in.,  on  which  to  teach  cross-stitch,  herringbone,  and  feather- 
stitch, also  pieces  of  linen,  to  teach  hemstitching  upon.  For  several 
months  give  class  instruction  of  one-half  hour  each  month  in  these 
stitches,  as  all  this  kind  of  work  will  be  used  in  making  the  white  cloth 
sampler. 

In  order  to  train  the  eyes  and  hands  of  pupils,  that  they  may 
be  prepared  for  advanced  work,  let  them  now  practise  in  cutting 
exactly  along  the  lines  of  striped  and  checked  cloths,  material  for 
which  can  be  found  in  pieces  left  over  from  dressmaking  in  the  sixth 
class. 

The  class  drill  should  be  reviewed  as  often  as  practicable. 

Letters  of  the  alphabet  may  be  made  in  cross-stitch  (see  Fig.  49). 
This  practice  is  to  train  the  eye  and  hand  in  spacing  distance  by  threads 
both  across  and  lengthwise  of  the  cloth,  and  for  marking  the  initials 
and  age  on  the  sampler.  Its  practical  value  otherwise  is  small,  and  too 

4Q 


PROGRESSIVE  LESSONS  IN  NEEDLEWORK. 

Outline-stitch    can    be    used   for 


much   time    should   not   be    given    to    it. 
initials  and    age,  if  a   pupil's    eyesight    is 


too    delicate   to   count    threads. 


Ill 


111 


-  .  »**'";  *>  * 


ii 

• 
• 


Fig.  49- 


SAMPLER    No.    3. 
MATERIALS     REQUIRED. 

Two  strips  of  bleached  cotton  (with  selvedge  on  one  side)   18  in.  x  5  in. 
Two  strips  of  cotton  (lengthwise,  without  selvedge)  9^  in.  x  5  in. 
Three  pieces  of  cotton  (for  patches)   3  in.  square. 
One  piece  of  cotton   (for  band)  3^  in.  x  2  in. 


THIRD   YEAR'S  SEWING.  5! 

One  piece  of  cotton   (for  gusset)   i^  in.  square. 

One  piece  of  cotton,  cut  bias,  £  in.  wide  and  10  in.  long  (for  facing  the 

narrow  ruffle). 

One  strip  of  Lonsdale  cotton   (across  the  cloth)    i8|  in.  x  5  in 
One  strip  of  Lonsdale  cotton    (across  the 'cloth)    14   in.  x  2|  in 
One  strip  of  flannel   (even  threads)  lengthwise,   18  in.  x  6  in. 
One  piece  of  crash  (even  threads)  for  pocket,  6  in.  x  4|  in. 
White  spool  cotton  Nos.   40,   50,  60,  70,  90,  and   100. 
Needles  Nos.  9,   10,   u,   12. 
Fine  crewel  needle. 

One  needleful  of  white  buttonhole  twist. 

Three  spools  (three  yards  each)  of  embroidery  silk  in  some  color. 
One  shirt  button.     One  large  pearl  button. 
One  piece  of  flannel,  2|-  in.  long,  2  in.  wide,  for  patch. 
The  estimated  cost  of  white  cotton  sampler  is  thirty  cents. 


DIRECTIONS     FOR     MAKING    SAMPLER. 
I. 

Baste  together   selvedges   of  the   first    two    strips    of    cloth   and    oversew 

with  No.  60  cotton  and  No.    10   needle,    leaving   a   distance   of   4   in. 

open  at  one   end   for  a  gusset ;    open  the   seam   and   press   flat  with 

the  thumb-nail. 

u. 
Turn  a  narrow  "handkerchief   hem"  on   the   raw  edge   of   the   first   strip 

of   cloth,  as  shown  in    illustration,  and  hem  with   No.    70   cotton   and 

No.   10  needle. 

in. 
6|    in.    from    the    bottom    edge    of   the    strip    cut    a   small  "hole,   as   shown 

in   illustration,    and    mend    the    hole    by   making   a   hemmed-on    patch, 

using  a  No.    10  needle  and  No.   70  cotton. 


PROGRESSIVE  LESSONS  IN  NEEDLEWORK. 


in.  above  this  patch  cut  another  hole,  and  mend  it  by  inserting  a 
stitched-in  patch,  using  No.  60  cotton  and  No.  9  needle  for 
stitching,  and  No.  70  cotton  and  No.  10  needle  for  overcasting. 


Join  by  a  French  seam  (for  direction  see  second  year)  the  two  strips 
9^  in.  x  5  in.  ;  join  on  widths,  making  strip  No.  3  18  in.  long. 

VI. 

6  in.  above  the  bottom  edge  of  this  strip  make  a  cut  having  two  right 
angles,  in  this  shape  I  ,  and  darn  it  according  to  questions  and 
answers  10  to  16. 

VII. 

2  in.  above  the  French  seam  cut  a  hole  and  mend  with  an  oversewed 
patch,  using  No.  60  cotton  and  No.  10  needle  for  the  oversewing, 
and  No.  70  cotton  and  No.  10  needle 
for  overcasting. 


Join  strip  No.  3  to  the  raw  edge  of 
strip  No.  2,  making  a  fell,  as  de- 
scribed in  sampler  No.  2  ;  use  No. 
50  cotton  and  No.  9  needle  for 
stitching,  No.  60  cotton  and  No.  9 
needle  for  hemming.  When  felling 
a  bias  seam,  lay  the  hem  with 
the  grain  of  the  cloth.  It  is 
much  easier  to  hem  with  the  grain  than  against  it  (Fig.  50). 


Bias  seam  hemmed. 
Fig:.  50 


On   the   lower   edge   of   the   sampler   turn  a  hem  2\  in.   broad,   and   hem 
with  No.  70  cotton  and  No.   10  needle. 


THIKD    YEAR'S  SEWING. 


53 


X. 

Make  a  buttonhole  I  in.  long  in  the  broad  hem  of  strip  No.  3 ;  use 
No.  70  cotton  and  No.  10  needle  for  overcasting,  and  No.  50  cotton 
and  No.  9  needle  for  working  the  buttonhole.  Make  a  buttonhole 
i  in.  long  in  the  broad  hem  of  strip  No.  I.  See  page  115. 

XI. 

Put  in  a  gusset  at  the  opening  of  the  oversewed  seam,  using  No.  60 
cotton  and  No.  10  needle  for  oversewing,  and  No.  70  cotton 
and  No.  10  needle  for  hemming. 

XII. 

Gather  strip  No.  i,  \  in.  below  the  top,  stroke,  and  put  into  the  band, 
using  No.  50  cotton  and  No.  9  needle  for  gathering  and  stitching, 
No.  60  cotton  and  No.  9  needle  for  oversewing  and  hemming. 

Make  a  buttonhole  -|-  in.  long  in  the  right-hand  end  of  the  band. 
Sew   a   shirt   button   on   the    left-hand    end    of   the    band,    using 
No.  50  cotton  and  No.  9  needle. 

XIII. 

Take  the  smaller  strip  of  Lonsdale  and  make  a  handkerchief  hem  on 
each  end  and  across  one  side,  using  No.  100  cotton  and  No.  12 
needle.  This  is  for  a  ruffle. 

Gather  the  ruffle  \  in.  from  the  raw  edge ;  stroke  and  stitch  to 
the  top  of  the  sampler  with  No.  60  cotton  and  No.  10  needle.  Still 
holding  the  ruffle  toward  the  person,  baste  to  this  seam  the  bias 
strip  of  cloth,  and  make  one  back-stitch  and  two  running  stitches 
directly  over  the  gathering.  Turn  all  these  edges  flat  to  the  under 
edge  of  the  sampler ;  turn  under  the  top  edge  and  one  end  of  the 
bias  strip ;  hem  the  turned  edge  to  the  sampler  and  oversew  one 
end.  The  other  end  is  held  in  place  by  the  stitching  of  the  flannel. 


54 


PROGRESSIVE  LESSONS  IN  NEEDLEWORK. 


XIV. 

Make  a  handkerchief  hem  on  the  ends  of  the  second  piece  of  Lonsdale, 
then  make  a  \  in.  hem  on  one  side  of  it.  Above  this  hem  make 
three  tucks  the  same  width  as  the  hem,  using  No.  90  cotton  and 
No.  1 1  needle. 

Whip  the  upper  edge  of  the  ruffle,  using  No.  40  cotton  and 
No.  9  needle. 

Oversew  this  ruffle  to  the  lower  edge  of  the  sampler,  holding  the 
sampler  toward  the  person,  sewing  from  left  to  right,  so  as  to  make 
one  stitch  come  in  every  little  groove  made  by  the  whipping.  Use 
No.  50  cotton  and  No.  9  needle. 


Turn  down  one  end  of  the  flannel  strip  i^  in.,  baste  it,  and  then  make 
herringbone  stitch  over  the  edge  with  embroidery  silk,  using  the 
crewel  needle  (see  question  and  answer  32). 

Hold  the  flannel  so  that  the  herringbone  stitches  just  made 
will  be  at  the  right-hand  side  and  on  the  under  side  of  the  flannel  ; 
then  turn  down  and  baste  the  upper  edge  of  the  flannel  \  in.,  turn 
again  I  in.,  and  baste  for  a  hem.  Then  blind-stitch  this  hem  with 
No.  9  needle  and  No.  60  cotton,  according  to  question  and 
answer  33. 

With  embroidery  silk,  feather-stitch  over  the  edge  of  this  hem, 
according  to  question  and  answer  35. 

Measure  the  strip  of  flannel  with  the  raw  edge  of  the  sampler, 
and  with  a  pencil  draw  scallops  on  the  end  so  as  to  make  it  the 
same  length  as  the  sampler  when  finished  (see  question  and  answer 
36).  Then,  with  embroidery  silk,  work  as  described  in  question  and 
answer  37. 

3  in.  above  the  scalloping  make  a  cut  in  the  flannel  i^  in.  long, 
and  darn,  using  No.  100  cotton  and  No.  12  needle  for  overcasting  the 


THIRD   YEAR'S  SEWING. 


55 


cut  edges  together,  and  No.  8  needle  and  ravellings  of  flannel  for 
darning. 

Half  way  between  the  darn  and  the  top  of  the  flannel  strip  cut 
a  hole  and  mend  it  with  a  patch,  according  to  question  and  answer  38. 

In  the  hem  of  the  flannel  strip,  cut  a  buttonhole  i  in.  long,  over- 
cast with  No.  70  cotton  and  No.  10  needbe,  and  work  with  buttonhole 
twist. 

Baste  the  flannel  to  the  raw  edge  of  the  sampler  ^  in.  from  the 
edge,  and  stitch  with  No.  50  cotton  and  No.  9  needle,  holding  the 
flannel  toward  the  person. 

XVI. 

Prepare  and  hemstitch  the  pocket  according  to  questions  and  answers 
40  to  48. 

A  buttonhole  is  cut  in  the  middle  of  the  hem  of  the  pocket,  and 
overcast  with  No.  70  cotton  and  No.  10  needle,  and  worked  with 
No.  40  cotton  and  No.  9  needle. 

The  initials  are  to  be  worked  in  the  centre  of  the  pocket,  \  in. 
below  the  hemstitching ;  work  with  embroidery  silk,  in  cross-stitch 
or  outline-stitch  (see  questions  and  answers  50  to  53).  The  age  is 
worked  in  the  same  way,  below  the  initials. 

A  row  of  double  feather-stitching  is  made  around  the  pocket,  at 
the  option  of  the  pupil. 

The  pocket  is  basted  to  the  centre  of  the  sampler  and  hemmed 
on  with  No.  60  cotton  and  No.  9  needle. 

XVII. 

A  stay  is  placed  on  the  wrong  side  of  the  sampler  (see  questions  and 
answers  56  to  58),  where  the  button  is  to  be  sewed  on.  This  is 
hemmed  with  No.  70  cotton  and  No.  10  needle. 

The  button  is  sewed  on  with  No.  50  cotton  and  No.  9  needle 
(white  cloth  sampler,  Fig.  51). 


PROGRESSIVE  LESSONS  IN  NEEDLEWORK. 


V '     £^ 

ill!!]  \  ii/ii. 


x^WV 


W;*<<!us>;f'wAiu>^ 


Fig.  51.  —  Sampler  No.  3. 


THIRD    YEAR'S  SEWING. 


57 


QUESTIONS    AND    ANSWERS. 

1.  What   number  cotton   and   needle  are   used   for  all   bastings   on   this 

sampler?  Ans.  No.  50  cotton  and  No.  9  needle  are  used  for 
basting  on  the  white  sampler. 

2.  What   seam   is   made  first   on   the   bleached  or  white  cloth  sampler  ? 

Ans.   On  the  bleached  sampler  the  oversewed  seam  is  made  first. 

3.  What  number  cotton  and  what  number  needle  are  used  for  the  over-_ 

sewing  ?  Ans.  No.  60  cotton  and  No.  10  needle  are  used  for 
the  oversewing. 

4.  For    hemming    the    sampler,    what    cotton    and    needle    are    used  ? 

Ans.  For  hemming  the  sampler,  No.  70  cotton  and  No.  10 
needle  are  used. 

5.  For  sewing  the  hemmed-on  patch,  what  cotton  and  what  needle  are 

used  ?  Ans.  For  sewing  a  hemmed-on  patch,  No.  70  cotton  and 
No.  10  needle  are  used. 

6.  For  sewing  the  stitched-in   patch,   what   cotton   and   what  needle  are 

used  ?  Ans.  For  stitching  the  patch,  No.  60  cotton  and  a  No.  9 
needle  are  used ;  and  No.  70  cotton  and  No.  10  needle  for  the 
overcasting. 

7.  What  number  cotton  and  what  number  needle  are  used  for  the  first 

part  of  the  French  seam  ?  Ans.  No.  60  cotton  and  No.  9 
needle  are  used  for  the  first  part  of  the  French  seam. 

8.  What  number  cotton  and  what  number  needle  are  used  for  stitching 

the  French  seam  ?  Ans.  For  stitching  the  French  seam,  No.  50 
cotton  and  No.  9  needle  are  used. 

9.  For   the   oversewed   patch,   what   cotton   and   what   needle   are   used  ? 

Ans.  No.  60  cotton  and  a  No.  10  needle  are  used  for  oversewing 
the  patch,  and  No.  70  cotton  and  No.  10  needle  for  overcast- 
ing it. 

10.    How  should  a  torn  or  cut  place  be  prepared  for  darning  ?     Ans.   The 
edges  of   the  cut  or  tear  should    be  caught  together  as  evenly  as 


PROGRESSIVE  LESSONS  IN  NEEDLEWORK. 


possible  by  fine  overcasting  on  the  wrong  side,  particular  care  being 
taken  at  the  corners  (Fig.  52  A);  then  a  straight  line  of  basting 
stitches  should  be  made  all  around  the  tear,  ^  inch  from  the  joined 
edges,  to  mark  where  the  lines  of  darning  end  (Fig.  53). 

11.  What  number  cotton  and  what  number  needle  are  used  for  the  darn 

on  the  sampler?     Ans.    No.  100  cotton  and  No.  12  needle  are  used 
for  the  darning  on  the  sampler. 
Show  this  preparation  for  darning  on  the  blackboard. 

12.  How    is    the    torn    place    darned    after    being   prepared   in    this   way? 

Ans.    Straight  lines  of  fine  stitches  are  made  back  and  forth  from 


Fig.  52 


Fig.  52  A. 


Fig.  53- 


basting    to   the   other,    leaving 


4 

3 
-3 

Fig     54 

very    small    loop    at 


one   guidim 
each  turning.* 

13.  How  are  the  corners  darned?     Ans.    The  lines  of  running  stitches  are 

made  slanting  instead  of   straight,   so  that  they  all  come   together 
at  the  corner  of  the  inside  basting.     (Illustrate  on  the  blackboard.) 

14.  Why  are  the  little  loops  left  ?     Ans.    The  little  loops  are  left  to  allow 

for  drawing  or  shrinking.    (Represent  such  a  darn  on  the  blackboard.) 

15.  Is  the  basting  left   in   after  the  darning  is  finished?     Ans.    No;   the 

bastings  are  cut  at  every  third  or  fourth  stitch  and  carefully  drawn  out. 

*  Needles  may  be  used  in  place  of  basting  at  each  side  of  the  darn,  over  which  to  make 
the  loops  in  turning.     See  Fig.  52. 


THIRD    YEAR'S  SEWING. 


59 


1 6.  Should  a  darn  be  made  on  the  right  or  the  wrong  side  of  the  cloth  ? 

Ans.    Generally,  a  darn  should  be  on  the  wrong  side  of  the  cloth. 

17.  What  number  cotton  and  what  number  needle  are  used  for  stitching 

the  fell  ?  Ans.  For  stitching  the  fell,  No.  50  cotton  and  No.  9 
needle  are  used. 

1 8.  For  hemming  the  fell,  what  cotton  and  needle  are  used  ?     Ans.    For 

hemming  the  fell,  No.  60  cotton  and  No.  9  needle  are  used. 

19.  For  overcasting  buttonholes,  what  cotton  and  what  needle   are   used? 

Ans.  For  overcasting  buttonholes,  No.  70  cotton  and  No.  10 
needle  are  used. 

20.  For    working    buttonholes,    what    cotton    and   what    needle    are    used  ? 

Ans.  For  working  buttonholes,  No.  50  cotton  and  No.  9  needle 
are  used. 

21.  What  number  cotton  and  what  number  needle  are  used  for  the  gusset 

on  the  sampler  ?  Ans.  For  sewing  a  gusset  on  the  sampler,  No. 
60  cotton  and  No.  10  needle  are  used  for  oversewing,  No.  70 
cotton  and  No.  10  needle  for  hemming. 

22.  What  number  cotton  and  what  number  needle  are  used  for  gathering  ? 

Ans.    For  gathering,  No.  50  cotton  and  No.  9  needle  are  used. 

23.  For  stitching  gathers   into  a   band,  what   cotton   and  what  needle  are 

used  ?  Ans.  For  stitching  gathers  into  a  band,  No.  50  cotton  and 
No.  9  needle  are  used. 

24.  For  hemming  the  band  down   and   oversewing  the  ends,  what  cotton 

and  what  needle  are  used  ?  Ans.  For  hemming  and  oversewing 
the  band,  No.  60  cotton  and  No.  9  needle  are  used. 

25.  For  sewing   the    button    on    the   band,   what    cotton   and  what   needle 

are  used  ?  Ans.  For  sewing  the  button  on  the  band,  No.  50 
cotton  and  No.  9  needle  are  used. 

26.  For  hemming  cambric  ruffles,  what  cotton  and  what  needle  are  used  ? 

Ans.  For  hemming  cambric  ruffles,  No.  100  cotton  and  No.  12 
needle  are  used. 


60  PROGRESSIVE  LESSONS  IN  NEEDLEWORK. 

27.  What  is  a  ruffle  ?     Ans.    A  ruffle  is  a  strip  of  cloth  gathered  on  one 

edge  and  hemmed  on  the  other,  which  is  then  sewed  to  a  plain 
piece  of  cloth.* 

28.  What    is   the    use  of   a   ruffle  ?      Ans.   A    ruffle  is   used   to   trim,    and 

sometimes  to  lengthen  a  garment. 

29.  What  number  cotton  and  what  number  needle  are  used  for  gathering 

the  narrow  ruffle  ?  Ans.  For  gathering  the  narrow  ruffle,  No.  50 
cotton  and  No.-  9  needle  are  used. 

30.  For  stitching  the   ruffled   piece   to    the  plain   piece,  what   cotton    and 

what  needle  are  used  ?  Ans.  For  stitching  on  the  ruffled  piece, 
No.  50  cotton  and  No.  9  needle  are  -used. 

31.  What  needle  and  cotton  are    used  for  sewing  the  bias  facing  to  the 

narrow    ruffle  ?     Ans.    No.    60    cotton  and    No.    9   needle   for    the 

stitching  part;  No.  10  needle  and  No.  70  cotton  for  the  hemming 
part. 

32.  How  is   herringbone  or   cat-stitch    made  ?  Ans.    A  knot   is  made   in 

the  thread  and  the  needle  is  brought  up  from  the  under  side  of 
the  work,  at  the  point  nearest  the  person,  as  this  stitch  is  usually 
worked  upward  or  from  the  worker ;  it  is  sometimes  worked  from 
left  to  right.  The  work  is  held  over  the  first  finger  of  the  left 
hand,  kept  in  place  with  the  second  finger  and  thumb.  The  thread 
is  first  drawn  through,  then  the  needle  is  put  through  ^  in.  to  the 
right  and  |  in.  above  and  brought  up  again  ^  in.  below  perpendicu- 
larly, care  being  taken  to  keep  the  thread  at  the  left  of  the  needle. 
The  needle  is  next  put  through  ^  in.  to  the  left  and  \  in.  above, 
and  the  stitch  made  in  the  same  manner,  keeping  the  thread  to 


*  When  gathering  a  ruffle  with  a  raw  edge  for  a  heading,  always  gather  on  the  under  or 
wrong  side.  When  gathering  a  ruffle  with  a  finished  heading,  or  a  dress  skirt,  gather  on  the 
upper  or  right  side,  beginning  on  the  right-hand  end,  for  both  upper  and  under  side.  Then  the 
long  end  of  the  gathering  thread  will  be  at  the  left  end  of  the  part  gathered,  and  the  work  can 
be  easily  drawn  into  place. 


THIRD   YEAR'S  SEWING. 


61 


the  right  of  the  needle.     The  third  stitch  is  to  the  left  and  above, 
as  before  (Fig.   55). 

33.  How  is  a  hem  blind-stitched  ?     Ans.  A  hem  is  blind-stitched  by  catch- 

ing the  under  part  of   the  first  fold  down  to  the  single  cloth  below 
it,  with  running  stitches,  so  that  no  stitches  show  on  the  upper  side. 

34.  What    stitch    is    used    to    ornament   the    hem    after   blind-stitching   it  ? 

Ans.    To  ornament  the  hem,  feather  or  vine  stitching  is  used. 

35.  How  is  feather  or  vine  stitch  made?     Ans.    A  knot  is  made  in  the 

thread,  and  the  needle  is  brought  up  from  the   under   side  of   the 


work,  at  the  point  farthest  from  the  person,  as  feather-stitch  is 
always  worked  downward  or  toward  the  worker.  The  work  is  held 
over  the  first  finger  of  the  left  hand,  kept  in  place  with  the  second 
finger  and  thumb.  The  thread  is  drawn  through,  then  placed  under 
the  thumb  while  the  next  stitch  is  taken  ;  the  needle  is  put  through 
to  the  under  side  \  in.  to  the  right  and  a  trifle  below  the  place 
where  it  was  brought  up,  and  brought  up  again  |  in.  perpendicu- 
larly ;  the  thread  is  drawn  through  until  caught  in  the  loop  formed 
by  the  thread  held  under  the  thumb.  The  next  stitch  is  made  in 
the  same  manner  |  in.  to  the  left  and  a  trifle  below,  the  third 
stitch  to  the  right  and  below,  and  so  on.  This  is  the  simplest 


62  PROGRESSIVE  LESSONS  IN  NEEDLEWORK. 

form  of  feather-stitch,  which  may  be  varied  in  many  ways,  as  shown 
by  the  illustrations. 

In  describing  the  so-called  "buttonhole  stitch"  of  embroidery,  it  is 
spoken  of  as  an  embroidery  edge  stitch,  so  that  the  child  may  not 
associate  it  with  buttonholes,  and  be  tempted,  by  the  ease  of  making, 
to  use  it  for  them. 


Fig.  56. 


Fig.  56  A. 


36.  How  is  the  flannel  prepared  for  the  embroidery  edge  stitch  ? 
Ans.  The  flannel  is  prepared  for  the  embroidery  edge  stitch  by 
first  marking  out  on  card-board  scallops  of  the  required  size.  Draw 
a  straight  line  3  in.  long,  -|  in.  from  the  lower  edge  of  the  card- 
board. Mark  off  this  line  by  dots  i  in.  apart,  and  half  way 


Fig.  57  A. 


between  each  two  make  a  dot  on  the  lower  edge  of  the  card-board. 
Connect  these  dots  by  half  circles  and  cut  them  out  with  the 
scissors.  Then  lay  the  card-board  evenly  on  the  edge  of  the  cloth, 
and  mark  the  scallops  on  it  with  a  lead  pencil,  holding  the  side  of 
the  pencil  with  care  perpendicularly  against  the  edge  of  the  card- 
board. Then,  making  a  dot  on  the  cloth  just  \  in.  above  the 
centre  of  the  curve  in  each  scallop,  connect  the  ends  of  each  out- 


THIRD    YEAR'S  SEWING.  63 

side  curve  by  a  line  drawn  through  this  point.  This  marks  out  the 
space  covered  by  the  stitches.  With  fine  darning  or  tambour  cotton 
make  running  stitches  on  the  lines  marked  out,  to  strengthen  the  edge. 
37.  How  is  the  embroidery  edge  stitch  made  ?  Ans.  Fasten  the  thread, 
to  begin  the  embroidery  edge  stitch,  by  taking  two  or  three  running 
stitches  between  the  two  curves  of  the  scallop,  and  bring  the  needle 
up  at  the  left-hand  point  of  the  first  scallop,  just  on  the  lower  edge 
of  the  lower  curve,  holding  the  edge  toward  the  person.  The  central 
stitch  of  the  scallop  should  be  vertical.  See  Fig.  58. 


Fig.  58- 

38.  How  is  a  patch  made  in  flannel  ?     Ans.    To  mend  a  hole  in  flannel, 

a  square  piece  of  the  material  with  the  edges  cut  even  (not  turned 
in)  is  basted  over  the  worn  or  torn  place  and  on  the  wrong  side  ; 
this  is  herringbone-stitched  very  finely  all  around  the  edges,  using 
No.  10  needle  and  No.  100  cotton.  The  worn  place  is  then  cut  out 
square,  and  the  even  edge  herringbone-stitched,  in  the  same  manner, 
to  the  patch  J^see  Figs.  58,  59). 

39.  Why  are  the  edges  of  the  patch  not  turned  under,  as  in  making  a 

similar  patch  on  cloth  ?      Ans.    Because  turned  edges  in  flannel  are 

clumsy  and  unnecessary,  as  the  material  will  not  ravel  when  held 
by  the  herringbone  stitches. 

40.  Of   what   material   is   the   pocket   of  the   sampler   made  ?  Ans.    The 

pocket  on  the  sampler  is  made  of  crash. 


64 


J 


1   3 

1  I 
I  ' 


1 1 


THIRD    YEAR'S  SEWING.  65 

41.  How  is  the  pocket  cut?     Ans.    Cut  by  a  thread  a  piece  of  crash  for 

the  pocket  6  in.  x  4^  in. 

42.  What  is  the  first  step  in  preparing  the  hem  for  hemstitching  ?     Ans.    To 

prepare  for  the  hemstitched  hem,  draw  six  threads  across  the  crash 
3  in.  from  the  end. 

43.  What  is  the  next  step  in  preparing  the  pocket  ?      Ans.    After  drawing 

the  threads  for  the  hemstitching,  turn  the  edges  of  tfce  piece  of 
crash  down  \  in.  and  baste  them  with  No.  40  cotton  and  No.  8  needle. 

44.  What  is  the  second  step  in  preparing  the  hem  ?      Ans.   The  second 

step  in  preparing  the  hem  is  to  fold  it  down  and  baste  it  so  that 
the  edge  of  the  fold  already  made  lies  evenly  along  the  upper  edge 
of  the  space  left  by  the  drawn  threads. 

45.  How   is    the  hemstitching  done  ?      Ans.    To  begin   the  hemstitching, 

make  a  tied  knot  in  the  thread  and  take  two  or  three  running 
stitches  on  the  under  side  of  the  fold,  then  bring  the  needle  to  the 
lower  side  at  the  left-hand  edge.  Now,  holding  the  work  over  the 
first  finger  of  the  left  hand,  the  hem  toward  the  person,  hold  the  left 
thumb  over  the  thread  and  put  the  needle  down  between  the  fourth 
and  fifth  threads,  take  up  the  four  threads  to  the  left,  bring  the 
needle  up,  and  pull  the  loop  thus  made  close  to  the  edge  of  the 
hem.  Holding  the  thread  firmly  under  the  left  thumb,  take  an 
edging  stitch  over  the  edge  of  the  hem  close  to  the  right  of  the 
four  threads  just  taken  up.  Then  take  up  four  more  threads  and 
repeat.  Always  work  on  the  side  on  which  the  hem  is  turned,  and 
from  left  to  right  (Fig.  60,  A,  B). 

46.  How  is  the  thread  joined  in  hemstitching?      Ans.    Tie  a  knot   in  the 

fresh  thread.  Draw  the  needle  through  the  upper  fold  of  the  hem, 
two  stitches  back,  working  over  these  stitches,  and  proceed  as  before. 

47.  What  number  needle  and  what  number  thread  are  used  in  hemstitch- 

ing the  pocket  ?  Ans.  In  hemstitching  the  pocket,  No.  60  cotton 
and  No.  9  needle  are  used. 


66 


PROGRESSIVE  LESSONS  IN  NEEDLEWORK. 


48.  How  should   the  ends   of   the   hem   be  finished?      Am.    The  ends   of 

the  hem  should  be  oversewed  ;  it  is  better  to  do  this  before  the 
hemstitching,  as  it  sometimes  prevents  unequal  stretching. 

49.  What  number  cotton  and  what   number  needle  are  used  for  the   but- 

tonhole on  the  pocket  ?  Am.  For  this  buttonhole,  No.  70  cotton 
and  No.  10  needle  are  used  for  overcasting,  and  No.  9  needle 
and  No.  40  cotton  in  making  the  buttonhole  stitch. 


Fig.  60,  A.  — Hemstitching. 

50.  How  are  the  letters  made  on  the  pocket  ?  Am.  To  begin  the  mark- 
ing stitch,  the  needle  is  brought  through  to  the  upper  side  at  the 
place  for  beginning  the  letter,  the  end  of  the  thread  being  held 
on  the  under  side  until  secured  by  the  first  stitch.  The  stitch  is 
made  by  putting  the  needle  through  to  the  lower  side  two  threads 
to  the  right  and  two  threads  upward  (in  marking  on  canvas  or 
coarse  crash)  and  bringing  it  up  two  threads  below,  perpendicularly. 
This  makes  the  under  half  of  the  stitch.  Next,  the  needle  is  put 
through  to  the  lower  side  two  threads  upward  and  two  threads  to 


THIRD    YEAR'S  SEWING.  67 

the  left,  bringing  the  thread  diagonally  across  the  lower  half  of 
the  stitch  and  completing  it.  The  pupil  can  see,  from  the  letter 
she  is  copying,  where  the  needle  should  be  brought  up  to  begin 
the  next  stitch,  which  is  made  in  the  same  way.  After  finishing 
the  first  initial,  four  threads  are  left  and  a  period  made  with  a 
single  cross-stitch.  Leave  four  threads  and  begin  the  next 
initial,  and  so  on. 


Fig.  60,  B.  —  Hemstitching. 

51.  How  should  the  thread   be  fastened   in   finishing  ?     Ans.    The  thread 

should  be  run  between  the  stitch  and  the  canvas  on  the  under 
side,  for  the  length  of  three  stitches,  and  cut  off  with  the  scissors. 

52.  In  what  direction    should   the    letters    be  worked  ?      Ans.  In   marking, 

the  letters  should  be  made  from  left  to  right. 

53.  How  is  the  place  to  begin  lettering  the  pocket  to  be  found  ?     Ans.  To 

find  the  place  of  the  first  marking  stitch,  count  the  number  of 
stitches  necessary  for  all  the  initials,  the  periods,  and  the  spaces 
between,  then  |  in.  below  the  hemstitching,  count  from  the 


68  PROGRESSIVE  LESSONS  IN  NEEDLEWORK. 

middle  of  the  pocket  half  this  number  of  stitches  to  the  left,  and 
this  gives  the  place  for  the  first  stitch  of  the  first  initial. 

54.  How   is   the    pocket    sewed    to    the    sampler  ?     Ans.    The   pocket    is 

hemmed  to  the  sampler. 

55.  What  number  thread  and  what  number  needle  are  used  for  hemming 

on  the  pocket  ?  Ans.  To  hem  on  the  pocket,  No.  60  thread  and 
No.  9  needle  are  used. 

56.  Where  should  the  button    be    sewed   on  ?      Ans.    After  the  pocket   is 

sewed  on,  lay  the  sampler  flat  on  the  desk  and  place  a  pin  through 
the  buttonhole  and  cloth  beneath,  \  in.  from  the  top  of  the 
buttonhole  ;  this  gives  the  place  where  the  button  should  be 
sewed. 

57.  Should   the   button    be    sewed   on   a   single    thickness   of   thin    cloth  ? 

Ans.  A  button  should  never  be  sewed  on  a  single  thickness  of 
thin  cloth,  where  it  has  to  bear  any  strain.  A  small  square  piece 
should  be  hemmed  on  under  the  place  where  the  button  belongs, 
to  strengthen  it.  Now  the  white  cloth  sampler  is  finished.* 

58.  What  is  this   small  piece  called  ?     Ans.    This   small  piece  is  called  a 

stay. 

NUMBER    OF    COTTON    AND    NUMBER    OF    NEEDLE    FOR 
SAMPLER    WORK. 


Cotton. 

Needle. 

Oversewed  seam          ..... 

60 

IO 

French  seam,  run  and  back-stitched  . 

..,.'..            60 

9 

French  seam,  stitched         .... 

50 

9 

Fell,  stitched       

50 

9 

Fell,  hemmed      ...... 

60 

9 

Hems,  broad  and  narrow    .... 

70 

IO 

Patch,  hemmed  on      ..... 

70 

IO 

Patch,  stitched  in        ..... 

60 

9 

*  The  idea  of  the  white   cloth  sampler  originated  with  Miss  Emma  F.  Ware,  Milton,   Mass. 
The  one  in  use,  here  illustrated,  has  several  alterations  and  additions. 


THIRD   YEAR'S  SEWING.  69 


Cotton. 

Needle. 

Patch,  overcast   

70 

10 

Patch,  oversewed         ....... 

60 

IO 

Darning       

100 

12 

Gathering    ......... 

50 

9 

Band,  stitched  on        ....... 

50 

9 

Band,  hemmed  down  and  ends  oversewed 

60 

9 

Buttonholes,  overcast           

70 

10 

Buttonholes,  worked  .         . 

50 

9 

Button  sewed  on  to  band           ..... 

50 

9 

Button  sewed  on  for  pocket        ... 

40 

9 

Lonsdale  ruffles,  hemmed  ...... 

100 

12 

Narrow  ruffle,  gathered       

50 

9 

Narrow  ruffle,  stitched  on  . 

60 

10 

Narrow  ruffle  facing,  backstitched  and  hemmed 

60 

10 

Tucks  run  in  broad  ruffle  ...... 

90 

II 

Broad  ruffle,  whipped          ...... 

40 

9 

Broad  ruffle,  oversewed  on         .         .         .         .         . 

50 

9 

Flannel,  blind  (or  slip)  stitched         .... 

60 

9 

Gusset,  oversewed       ....... 

00 

10 

Gusset,  hemmed         

70 

IO 

Pocket,  hemstitched    

60 

9 

Pocket,  buttonhole  worked          ..... 

40 

9 

Pocket,  hemmed  on    . 

60 

9 

Stay  for  button,  hemmed  on      

70 

10 

Flannel  stitched  on  to  sampler  ..... 

50 

9 

Flannel  overcast          

70 

10 

Flannel  patch,  herringbone  stitches    .... 

100 

IO 

Darn  on  flannel  with  ravellings  of  same. 

*  Loops  and  eyelet        ....... 

40 

8 

*  See  page  115. 


CHAPTER    IV. 
Fourth   Year's   Sewing. 

WHEN  the  fine  white  cotton  sampler  has  not  been  finished  in  the 
third  year,  it  must  be  completed  as  early  as  possible  in  the  fourth  year, 
to  give  the  necessary  time  for  advanced  work. 

The  work  laid  out  for  this  year  includes  advanced  patching  and  darn- 
ing on  fine,  plain,  and  figured  woollens,  heavy  cloths,  table  linen,  and 
silk, — the  darning  done  with  ravellings,  fine  worsted,  linen  and  silk 
threads.  Also  stocking-darning. 

Pupils  of  this  year  can  cut  and  prepare  all  that  is  necessary  in  the 
sampler  work  for  younger  classes,  such  as  cutting  small  paper  patterns, 
cutting  linen  for  pockets,  lengths  of  flannel,  and  ruffles  from  the  width 
of  fine  cambric.  In  this  way  they  are  learning  to  handle  practically  dif- 
ferent kinds  of  cloth,  to  know  thoroughly  about  the  length,  width,  and 
bias  of  ck>th,  and  why  it  should  be  cut  certain  ways  for  different  pur- 
poses. They  also  gain  the  ability  to  use  their  hands  rapidly  and  easily 

The  class  should  study  about  different  materials,  such  as  wool, 
linen,  and  silk  ;  explain  how  they  are  produced  and  how  made  into 
fabrics.  If  possible,  show  specimens  in  various  stages  from  the  raw 
product  to  the  finished  goods. 

Patching:—  L 

In  patching,  the  pupil  has  been  taught  the  importance  of  matching 
the  patch  with  the  cloth  of  the  garment  in  the  direction  of  the  threads, 

70 


FOURTH  YEAR'S  SEWING.  »l 

figures,  etc.  In  flannel  the  way  of  the  nap,  the  selvedge,  and  the  right 
and  wrong  sides  of  the  cloth  must  be  considered.  As  the  edges  of  a 
flannel  patch  will  nott  ravel,  the  raw  edges  can  be  herringboned  to  the 
under  side  of  the  cloth,  and  the  raw  edges  of  the  cut  can  be  neatly  her- 
ringboned to  the  patch,  as  shown  in  Figs.  58,  59. 


Fig.  61.— Patch  hemmed  to  the  right  side. 


Patching  woollen  dress  material  must  be  done  according  to  the  nature 
of  the  goods,  the  tear,  etc.,  and  judgment  must  be  exercised  in  doing  it. 
Sometimes  more  than  one  method  may  be  wisely  used.  Four  kinds  of 
patches  are  described,  viz.  the  hemmed-on  (Fig.  61),  the  stitched-in,  the 
oversewed,  and  the  darned-on. 


y2  PROGRESSIVE  .LESSONS  IN  NEEDLEWORK. 

Darned-on  patch :  — 

When  a  large  patch  is  well  matched  to  heavy  cloth,  it  shows  less 
than  a  small  one.  Darning  is  better  than  a  small  patch.  A  thread  of 
the  same  color  as  the  cloth  should  be  used  when  patching  and  darning. 

A   darned-on    patch   is    used   for   heavy  cloths,  especially   in   mending 


Fig.  62.  — Showing  darn  for  a  thin  place. 

boys'  trousers.  If  possible,  use  a  patch  of  irregular  edges,  as  when  sewed 
down  it  is  less  noticeable  than  one  with  straight  edges,  and  can,  with 
care,  often  be  made  almost  invisible. 

By  fine  overcasting  of  cotton   or  silk    secure    the    patch  to  the   right 
side  of  the  garment,  the  stitch  being  taken    through  the  upper  surface  of 


FOURTH   YEAR'S  SEWING. 


73 


the  edge  of  the  patch.  This  brings  the  upper  surface  of  the  patch  nearly 
to  the  level  of  the  cloth  of  the  garment.  Then  the  darning  stitches 
should  be  taken  below  the  surface  of  the  patch  and  the  garment,  never 
showing  on  the  top.  To  hide  the  turning  at  the  end  of  the  lines  of 
darning,  take  a  stitch  diagonally  (always  under  the  surface)  from  the  end 
stitch  of  the  line  finished  to  the  place  where  the  next  line  is  to  begin. 


Fig.  63,  A. 


Fig.  63,  B. 


Pare  off  as  little  as  possible  of  the  ragged  edges  beneath,  and  catch 
them  down  securely  to  the  under  side  of  the  patch  with  herringbone 
stitch  so  that  the  stitches  do  not  show  through. 

The    most    important    points    of  instruction    are  to  consider  the    char- 
acter of  the  cloth,  the  worn  place,  and  the  method  of  mending  it. 


in. 


Darning :  — 

To   darn  a  hole  in  a  stocking  (Fig.  63,  A)  or  in  woollen  undercloth- 
ing (if  large),  first  draw  the  edges  together  as  "i^ear  as  possible  with  fine 


74 


PROGRESSIVE  LESSONS  IN  NEEDLEWORK. 


cotton  (Fig.  63,  B)  ;  then  make  straight  lines  of  darning  between  the  two. 
opposite  sides  of  the  hole,  and  leave  a  loop  of  the  thread  at  the  end 
of  each  line  of  turning,  to  allow  for  shrinking  ;  darn  across  the  hole 
in  like  manner  at  right  angles  to  these  lines  (see  Fig.  64).  Each  line  of 
darning  should  begin  i  in.  or  more  beyond  the  edge  of  the  hole,  and  at 


Fig.  64. 


the  left  side  of  the  worn  or  thin  place.  In  one  line  pass  the  needle  over 
the  first  thread  and  under  the  second,  over  the  third  and  under  the 
fourth,  and  so  on,  and  in  returning  op  the  next  line  pass  the  needle  over 
the  threads  taken  up  before,  and  under  the  threads  left  down  (Fig.  64). 
(Illustrate  on  blackboard.) 

If  fine  woollen   thread  is  used  in  darning   cotton    stockings,  the    darn 
is  much  softer  than  when  cotton  thread  is  used.     Care    should  always  be 


FOURTH   YEAR'S  SEWING. 


75 


taken  when  darning  a  worn  place  to  make  the  lines  of  stitches  of  uneven 
length  for  the  sake  of  strength.  If  the  lines  are  of  even  length  the 
whole  strain  is  borne  by  one  thread  in  the  cloth,  which  soon  gives  way. 
Explain  the  different  kinds  of  needles  used  for  darning. 

To    show  the    necessity  of   darning    before    the  hole    actually  appears, 
it  should  be  explained  that  darning  is  a  method  of   renewing   the    part  of 
the    cloth     destroyed     or    weakened    by 
wear,  and  in   some  cases  is  really  hand- 
weaving.     Thus,  if  the  darning  is  over  a 
thin  place  and  not  a  hole,  the  work  can 
be  made  stronger  and  less  clumsy. 

It  would  be  well  for  the  teacher 
to  tell  the  child  that,  before  stock- 
ings or  woollen  undergarments  are 
washed,  if  a  few  stitches  are  taken 
with  fine  thread,  drawing  the  torn 
edges  evenly  and  as  nearly  together 
as  possible,  the  hole  instead  of  grow- 
ing larger  will  full  together  at  the 
edges  and  become  smaller ;  thus  the 
work  of  mending  will  be  lessened, 
the  mended  garment  will  be  stronger, 
and  the  mend  itself  is  less  con- 
spicuous. Such  information  -from  a  teacher  is  valuable  for  home  use. 

For  darning  woollen  material,  use  a  ravelling  of  the  same  if  possible. 
Otherwise,  use  a  fine  worsted  thread,  splitting  it  if  necessary  and  match- 
ing the  color  of  the  cloth  (see  Fig.  65). 

In  damning  on  silk  or  linen  fabrics  with  fine  floss,  sewing  silk, 
or  ravellings  of  silk,  the  loops  should  be  left  shorter  than  in  other 
darning,  as  the  linen  and  silk  threads  do  not  shrink  like  cotton  and 
wool  threads. 


Fig.  65.  —  Darned  with  ravellings. 


76 


PROGRESSIVE  LESSONS  IN  NEEDLEWORK. 


Mexican  work  (Fig.  66), 

As  preliminary  to  general  embroidery,  is  introduced  in  this  grade. 
It  gives  a  child  valuable  artistic  training.  Some  children  have  natural 
gifts  which  are  awakened  and  trained  in  this  work  in  ways  that  are 
invaluable  in  after  life.  As  a  saving  of  school  time,  pupils  may  be 
allowed  to  take  this  work  home  and  work  on  it  there,  when  they  show 

sufficient  appreciation  of  neatness. 
It  should  be  noticed  that  this  pri- 
mary Mexican  work  is  practised  in 
hemstitching  and  in  herringbone 
stitch. 

Cutting :  — 

The  scissors  practice  of  the 
lower  grades  now  becomes  the 
wholly  practical  work  of  cutting 
patterns  and  garments.  The  pupils 
in  this  fourth  year  learn  the  use 
of  the  tape  measure  by  measuring 
for  patterns  of  plain  undergarments. 
The  measures  are  taken  by  the 
pupils  on  a  child  of  the  age  and 
size  to  be  fitted.  These  measures 
are  written  on  the  blackboard,  where  they  are  used  in  drawing  a  diagram 
according  to  the  method  explained  in  the  class  work.  The  pupil  makes 
a  similar  diagram  on  paper. 


Fig.  66.  — Mexican  work. 


How  to  measure  for  drawers  pattern :  — 

For   the   length,    place   the   end    of    the   tape   measure    at    the   waist 
line    on    the   upper  part  of   the    hip,  and   measure   to   three   inches    below 


FOURTH   YEAR'S  SEWING. 


77 


the  knee.  Draw  the  oblong  3  in.  longer  than  that  measurement,  to 
allow  for  the  upper  slope  (see  scale  of  measurements).  The  width  of 
the  oblong  is  governed  a  little  by  the  size  of  the  pupil,  and  according 
to  the  teacher's  judgment.  15  in.  is  the  right  width  for  an  average  size 
pupil  of  ten  to  fourteen  years  of  age.  For  length  of  waistbands,  pass 
the  tape  measure  around-  the  waist  loosely ;  allow  2  in.  more  than 
the  waist  measure,  as  this  length  makes  the  front  and  back  band. 
The  pattern  for  children's  drawers  is  so  made  that  the  '  front  and 
back  of  the  body  may  be  either  of  equal  or  unequal  length. 

A  scale  of  measurement  for  drawers  of  different  sizes,  is  here 
given,  and  the  following  diagram  is  drawn  from  a  22  hip  to  knee 
measure.  The  oblong  is  made  3  in.  longer  than  this  measure,  to 
allow  at  the  upper  part  of  the  pattern  a  slope  of  3  in.  from  the  folded 
edge  to  the  back  and  front,  if  front  and  back  are  made  the  same 
length.  The  length  of  the  seat  usually  determines  the  width  of  the 
oblong,  and  the  judgment  of  the  teacher  is  here  exercised  when 
the  size  of  the  pupil  must  be  considered,  as  the  oblong  can  be  made 
wider  or  narrower.* 

*  A  blackboard  ruled  into  inch  squares  with  red  lines,  every  ninth  line  of  some  other  color, 
to  show  the  quarters  of  the  yard,  is  a  great  help  in  the  teaching  and  learning  the  proportions 
of  diagrams. 

Sectional  paper  \  in.  scale  is  an  aid  to  accurate  and  rapid  work;  every  point  and  line  may 
be  drawn  readily  at  the  teacher's  direction.  It  is  also  useful  in  reducing  and  drawing  patterns. 

These  lessons  on  diagrams  should  be  thoroughly  learned  before  the  drawing  of  them  is 
attempted. 


78  PROGRESSIVE  LESSONS  IN  NEEDLEWORK. 

MEASUREMENT   EXPRESSED    IN    INCHES    FOR    DIFFERENT   SIZES   OF   DRAWERS. 


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Pattern  of  drawers  for  a  child  of  ten  to  twelve  years  (Fig.  68) :  — 
This    pattern    consists    of    three    pieces,  —  one-half    of    the  %drawers, 

and  the  front  (Fig.  67,  A)  and  back  (Fig. 
67,  B)  band.  These  bands  are  cut  length- 
wise of  the  cloth  and  sewed  to  the  gar- 
ment in  the  manner  described  in  answer 
to  question  65  in  the  second  year.  Make 
three  buttonholes  in  each  band.  i|  yds. 
of  cloth  36  in.  wide  is  needed  for  drawers 
of  this  size. 


JJraiutrs  £anj  Cut. 

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Fig.  67. 

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79 


Fig.  C3.  — Scale  J"=i". 


go  PROGRESSIVE  LESSONS  IN  NEEDLEWORK. 

1.  Draw    upon    the    blackboard    an    oblong    15    in.  x  25    in.,    with    the 

shorter  sides  horizontal,  making  the  left  vertical  a  dotted  line, 
to  represent  the  line  at  which  the  cloth  or  paper  is  doubled. 

2.  From  the  upper  left-hand  corner  of  the  oblong,    measure    3    in.    down 

on  the  dotted  line,  and  mark  the  point  A,  for  the  lower  end  of 
the  upper  slope.  From  the  upper  end  of  the  left  vertical,  measure 
to  the  right  10  in.  Mark  the  point  B,  for  the  width  of  the  upper 
front  slope.  From  the  same  end  measure  to  the  right  12  in. 
Mark  the  point  C,  for  the  width  of  the  upper  back  slope. 
Connect  A-C  by  a  straight  line  for  the  back  slope. 

3.  From  point  B  draw  downward   a   dotted  vertical   line    of   2    in.,    mark 

this  point  X.  Connect  A-X  by  a  straight  line  for  a  short  front 
length,  if  desired. 

4.  From    the  upper   end   on   the    right    vertical,    measure    down     14    in. 

Mark  the  point  D,  for  length  of  seat.  Connect  C-D  for  the  back 
slope.  Connect  X-D  for  the  front  slope. 

5.  From  the  lower  end  of  the  left  vertical  line,  measure  upward    \\   in. 

Mark  the  point  G,  for  width  of  the  hem.  From  that  point  draw  to 
the  right  a  dotted  horizontal  line  of  9  in.  Mark  the  point  E, 
for  the  fold  of  the  hem.  Connect  D-E  by  curving  gradually  to 
the  left.  This  gives  the  curve  for  the  leg. 

6.  From    the   left    end   of   the   lower   horizontal,    measure    to    the    right 

9^  in.     Mark  the  point   F.     This   leaves    on  the   seam    a   slope   for 
the  hem.     Connect  E-F.     Draw  the  pattern  on  paper  doubled. 
Cut  from  A  to  C,  C  to  D,  to  E,  to  F ;  open  the  paper  and  cut  from 
A  to  X  and  X  to  D.     Through  one  thickness  of  the  paper  only. 

To  make  the  opening  at  the  side,  from  A  cut  down  the  fold  8  in. 
from  the  top.  For  binding,  take  a  strip  17  in.  long,  selvedge  way  of 
the  cloth,  and  bind  the  opening.  Baste  the  binding  on  both  sides  of 
the  opening,  to  the  right  side  of  the  garment,  by  \  in.  basting  stitches. 


FOURTH   YEAR'S  SEWING.  8 1 

Back-stitch  close  below  the  basting,  then  turn  the  strip  over  and  hem  to  the 
wrong  side  directly  over  the  stitching.  This  makes  a  very  strong  finish  for 
the  side,  which  will  seldom  wear  or  tear.  Back-stitch  and  fell  the  seams. 
For  children  it  is  more  economical  and  quite  as  comfortable  to  leave 
the  front  and  the  back  of  the  drawers  of  the  same  length ;  then,  being 
worn  evenly,  the  garment  lasts  longer. 

Pattern  for  a  chemise  waist,  for  a  child  eight  to  ten  years  :  — 

This  pattern   consists   of  four  pieces,   one-half  of  the  front  and  back, 

two  pieces  for  the  bias  bands. 

if  yds.  of  yard-wide   cloth   are   needed   for  two  waists.     One-half   of 

this  will  not  cut  one  waist. 

FRONT    (Fig.   69). 

1.  For  the  front  draw  an    oblong    13    in.   x  20  in.,  with  the  short  sides 

horizontal,  making  the  left  vertical  dotted  to  represent  the  line 
at  which  the  cloth  or  paper  is  doubled. 

2.  From    the    upper    left    corner    measure   vertically   downward    on    the 

dotted  line  5^  in.,  n  in.,  13^  in.  Mark  the  points,  respectively, 
A  for  the  lower  part  of  the  front  neck,  K'  for  the  upper,  and  R' 
for  the  lower  edge  of  the  bias  band. 

3.  From  the  upper  left  corner  measure  horizontally  to  the  right   3j  in., 

marking  the  point  B,  for  the  upper  part  of  the  neck  ;  6J  in.,  mark- 
ing the  point  X,  for  length  of  shoulder ;  g\  in.,  marking  the  point 
Y,  for  width  of  arm-size.  Connect-  B-A  by  a  line,  curving  grad- 
ually to  the  right  for  the  curve  of  the  neck. 

4.  From  the  point  X  draw  downward  a  dotted  vertical  6J  in.,  and  mark 

the  lower  end  E,  for  length  of  arm-size.  Mark  the  point  C  on 
this  line  I  in.  below  the  point  X,  for  slope  of  shoulder  seam. 
Connect  the  points  B-C  by  a  straight  line  to  give  the  slope  of 
the  shoulder  seam. 


FOURTH    YEAR'S  SEWING.  83 

5.  From  Y  draw  downward  a  dotted  vertical  6  in.,  and  mark  the  lower 

end  of  the  line  F,  for  the  top  of  the  under-arm  seam. 

6.  From  A  draw  a  horizontal  line  6  in.  to  the  right,  for  width  of  chest, 

and  mark  the  end  D.  Connect  C,  D,  E,  and  F  by  a  line  curving 
to  the  left  for  the  curve  of  the  arm-size. 

7.  From  the  lower  right    corner   measure   vertically   upward    i^  in.,   and 

mark  the  point  G;  7|-  in.,  and  mark  the  point  R;  and  10^  in., 
and  mark  the  point  K.  Connect  the  points  F  and  G  by  a  straight 
line,  to  give  the  slope  of  the  side  seam.  The  points  R-K  are 
for  the  upper  and  lower  edges  of  the  bias  band. 

8.  From   the  lower  left   corner  measure    3    in.    horizontally  to  the  right, 

and  mark  the  point  H.  Connect  the  points  H  and  G,  to  give  the 
slope  at  the  lower  end  of  the  side  seam. 

9.  Connect  R  and  R'  and   K  and  K'  by  dotted   lines,  for  the  bias  band 

at  the  waist. 
10.    Draw  the  pattern  on  paper  and  cut  from  A  to  B,  C,  D,  E,  F,  G,  and  H. 

This  garment  serves  as  a  chemise  and   a  waist,  to  which  the  drawers- 
and  skirts  can  be  buttoned.     It  is  a  comfortable  garment  for  children. 

The  band  is  made  bias  for  elasticity  and  strength,  and  hemmed  on  the 
under  side.  It  is  2j  in.  wide,  to  give  opportunity  to  lower  the  buttons  as 
the  child  grows. 

BACK     (Fig.  70). 

I.  For  the  back  draw  an  oblong  1 1  in.  x  19  in.,  the  shorter  sides 
horizontal,  making  the  right  vertical  dotted,  to  represent  the  line 
at  which  the  cloth  or  paper  is  doubled. 

From  the  upper  left  corner  measure  i^  in.  horizontally  to  the  right, 
and  mark  the  point  S.  From  this  point  draw  a  dotted  vertical  to 
the  lower  edge  of  the  oblong,  to  mark  the  width  of  the  hem  at 
the  back.  On  this  line  mark  measurements  for  the  lower  part  of 
back  of  neck  and  for  width  of  bias  band.  From  the  upper  end  of 


PROGRESSIVE  LESSONS  IN  NEEDLEWORK. 


Fig.  70.  —  Back  of  chemise  waist.     Scale  J"=i". 


FOURTH   YEAR'S  SEWING.  85 

this  line  measure  vertically  downward  3.]   in.,  Q|  in.,    12 J  in.     Mark 
the  points,   respectively,    A    for   the    lower   part    of   the   back   nec< 
K'  for  the  upper,  and  R'  for  the  lower  edge  of  the  bias  band. 

2.  From    the    upper   left    corner   of   the   oblong   measure    horizontally   to 

the  right  5^  in.,  and  mark  the  point  B,  for  the  upper  part  of  the 
back  neck ;  8|  in.,  mark  X,  for  length  of  back  shoulder.  Connect 
A  and  B,  to  give  the  curve  of  the  neck,  by  a  line  curving  gradu- 
ally to  the  right. 

3.  From  A  on  the  hem  line  make  a  dotted  horizontal  line  6  in.  to  the 

right,  and  mark  the  end  D,  for  the  width  of  the  back. 

4.  From  the  point  X  draw  downward  a  dotted  vertical  5^  in.,  and  mark 

the  lower  end  F,  for  the  length  of  the  back  arm-size.  Mark  the  point 
C  on  this  line  i  in.  below  X.  Connect  B  and  C  by  a  straight  line, 
to  give  the  slope  for  the  shoulder  seam.  Connect  C,  D,  and  F  by 
a  line  curving  to  the  left,  to  give  the  curve  of  the  back  arm-size. 
5  From  the  lower  right  corner  measure  up  i-J-  in.,  and  mark  the  point 
G;  7|-  in.,  mark  the  point  R;  and  10  in.,  and  mark  the  point  K. 
Connect  F  and  G,  to  give  the  slope  of  the  side  seam.  The  points 
R  and  K  are  for  the  upper  and  lower  edges  of  the  bias  band. 

6.  From  the  lower  left  corner  of  the  oblong  measure  3  in.   to  the  right, 

mark  the  point  H.  Connect  G  and  H  by  a  straight  line,  to  give 
the  slope  at  the  lower  end  of  the  side  seam. 

7.  Connect   R  and  R'  and  K  and  K'  by  straight  lines  for  the  bias  band 

of  the  waist. 

8.  Draw  the  pattern   on   paper  and  fold  over  the  hem  at  the  hem  line, 

then  cut  from  A  to  B,   C,  D,   E,   F,  and  G. 

Face  the   neck,   arm-size,  and   lower   edge  with    a   strip    of   cloth    cut 
on  the  bias. 

The  advantage  of  material  cut  on  the  bias  is  in  its  power  to  stretch 
when  used  as  a  facing  on  curves;  and  on  a  straight  edge  it  makes  a  smoother 


86 


PROGRESSIVE  LESSONS  IN  NEEDLEWORK. 


lining  than  a  straight  strip  of  cloth.  When  cutting  twilled  fabric,  fold 
the  corner  so  that  the  lines  of  the  twill  will  be  perpendicular  to  the 
fold,  crease  firmly,  and  cut  in  the  crease. 

Cutting  bias   strips  :  — 

Fold  the  bias  edge  the   desired   width,    crease   as   before,   cut  in  the 


crease.  Use  the  first  strip  as  a  guide, 
by  pinning  it  to  the  bias  edge  of 
the  material  and  cutting  all  the  strips 
necessary.  If  one  strip  is  not  of 
sufficient  length,  join  the  two  right 
sides  together  by  a  stitched  seam. 
I  /  Make  the  seam  flat  and  the  edges 

even   (see    Fig.    71,    A   and    B). 

Bias  strips  are  much  used  in  dress- 
making   to    cover  -cord,    etc.      This   cov- 
ered   cord    makes    a    neat    finish    for    a 
child's  dress  waist. 
Fig.  71,  A  and  B.  As  in  the  preceding  years,  questions 

on    the   work   of   the   year  are   given    out 

to  the  pupils  from  time  to  time,  to  which  they  are  required  to  write  full 
answers  ;  but  it  is  not  thought  necessary  to  specify  these  questions  as 
heretofore. 


CHAPTER     V. 
Fifth   Year's   Sewing. 

FROM  the  paper  patterns  cut  in  the  fourth  year  the  pupils  may  now 
cut  and  make  undergarments  of  fine  white  cotton.  Flannel  skirts  are  cut 
and  made,  either  lengthwise  or  widthwise  of  the  flannel ;  the  seams  are 
finished  with  herringbone  or  feather  stitching ;  the  hem  is  embroidered, 
if  the  pupil  desires  it.  Diagrams  are  drawn  for  long  tiers  and  for 
sleeves.  The  model  form  is  studied  (illustration  of  model  form, 
Fig.  72). 

If  very  good  and  careful  work  has  been  done  in  plain  sewing,  the 
pupil  may  select  from  their  drawing  lessons  a  design  to  arrange  for 
embroidery  or  advanced  Mexican  work,  and  when  the  stitches  have  been 
thoroughly  learned,  a  large  part  of  this  work  can  be  done  at  home,  thus 
leaving  the  study  hours  for  that  part  of  the  work  which  must  be  done 
under  the  supervision  of  the  teacher. 

Study  of  the  model  form  compared  with  the  pupil's  form :  — 

Study  the  general  character  of  the  model  form  and  describe  it. 

The  front  is  curved,  the  back  is  flat,  the  sides  curve  in  slightly  from 
the  arm-size  to  the  waist  line,  then  curve  outward. 

Look  at  the  cloth  cover  on  the  form ;  into  how  many  parts  is  it 
divided  ?  Tell  the  name  of  each  part.  Front,  under-arm  piece,  back,  side 
form  for  the  back.  These  parts  are  joined  together  by  seams. 

Tell  the  names  of  these  seams. 

87 


88 


PROGRESSIVE  LESSONS  IN  NEEDLEWORK. 


Dart  or  bias  seams,  under-arm  seams  (all  seams  from  the  last  dart  to 
the    side-form    seams    are    called    under-arm    seams),  side-form    seam  (this 
is  a  curved   seam    and   joined   to   the    back),  back 
centre  seam,  and  shoulder  seam.      The  fronts  are 
joined    or  closed    by  a   hem,   but   when    the  waist 
is  opened  at  the  back,  a  hem  closes  the  back. 

Notice  the  length  of  those  parts  which  extend 
from  the  neck  to  the  lower  part  of  the  waist  ; 
look  at  the  shorter  parts  ;  notice  and  describe 
the  dart  seams. 

The  use  of  a  dart  or  bias  is  to  lessen  the 
fulness  of  the  cloth  and  make  the  part  smaller. 

Measure  around  the  lower  part  of  the  waist 
for  a  belt.  Make  a  belt  i^  in.  wide  and  2  in. 
longer  than  the  waist  measure,  so  that  one  end  of 
the  belt  can  lie  over  the  other  end  for  a  lap.  Pin 
this  belt  close  around  the  smallest  part  of  the  waist, 
that  all  vertical  measurements  may  be  made  from 
its  lowest  edge,  that  edge  being  called  the  waist 
line. 

MEASURING    THE    FORM. 

1.  From    the    lower    part    of    the     neck     curve, 

measure  vertically  to  the  waist  line  ;  this 
makes  a  front  centre  line. 

2.  Measure   from   the   lower   edge    of    the    front 

centre  of  the  belt  to  the  upper  edge  of 
the  shoulder  seam  on  the  neck.  Make  a 
note  of  this  and  all  following  measurements. 

3.  Measure    horizontally   from    the   lower    part    of    the    shoulder   to    the 

front    centre  line.      Observe  the    distance    from    the   centre    line  to 
the  first  dart  seam    and  to  the  second   dart    seam.      Measure  hori- 


Fig.  72.— Model  forr 


FIFTH   YE  AX'S  SEWING. 


89 


zontally  the  distance  from  the  top  of  the  darts  to  this  centre  line, 
also  from  these  darts  at  the  waist  line  to  the  centre  line.  Compare 
these  measures ;  tell  how  they  differ ;  notice  that  the  cloth  has 
been  drawn  into  a  small  space  to  make  this  difference.  Measure 
horizontally  from  the  top  of  the  last  dart  to  the  first  under-arm 
seam ;  to  the  second  under-arm  seam.  At  the  waist  line,  from 
the  last  dart,  measure  to  these  under-arm  seams.  Compare  these 
measurements ;  tell  how  they  differ.  From  the  waist  line  at  the 
centre  of  the  back  measure  vertically  to  the  centre  of  the  back 
neck.  Measure  horizontally  from  the  lower  edge  of  the,  shoulder 
seam  to  this  back  centre  seam  ;  from  the  lower  part  of  the  back 
arm-size,  measure  horizontally  to  this  back  centre  seam.  Notice 
where  the  side  form  joins  the  back  by  a  curved  seam,  and  where 
this  curved  seam  begins  at  the  back  arm-size.  At  the  waist  line, 
measure  the  distance  from  the  back  centre  seam  to  this  curved 
seam ;  measure  from  this  curved  seam  to  the  second  under-arm 
seam  at  the  waist  line.  On  the  blackboard  make  a  diagram  of 
these  parts.  Make  diagrams  on  paper,  cut  them  out,  pin  them  to 
the  form,  and  see  how  they  compare  with  the  parts  of  the  cover. 
When  a  pupil  has  gained  a  knowledge  of  the  form,  let  her  take  a 
sheet  of  thin  manilla  paper  and  make  a  pattern  of  the  cloth  cover 
by  pinning  the  paper  to  the  form  and  using  its  seams  as  a  guide 
for  the  seams  in  her  paper  pattern.  Then  make  a  pattern 
in  cloth.  When  a  satisfactory  pattern  has  been  made  in 
cloth,  let  the  pupil  tell  in  writing  how  she  made  it.  Take 
measurements  like  these  on  the  pupil's  form  and  cut  a  paper 
pattern  from  them.  Let  a  teacher  not  be  discouraged  when  her 
pupil  fails  to  make  a  perfect  pattern  from  these  measurements, 
since  this  is  but  preparatory  work,  and  pupils  have  not  yet  suffi- 
cient judgment  necessary  for  perfect  work. 


QO  PROGRESSIVE  LESSONS  IN  NEEDLEWORK. 

PATTERN    FOR    A    TIER. 

This  pattern  consists  of  five  pieces :  one-half  of  the  front,  one-half 
of  the  back,  upper  and  under  part  of  sleeve,  and  neck  band. 

PATTERN    OF    THE    FRONT    OF    TIER,    HAVING    CHEST    MEASURE    OF    29    IN.    AND 

LENGTH    MEASURE    OF    40    IN.    (Fig.   73). 
Measurements :  — 

For  the  length  of  the  tier,  measure  from  the  upper  part  of  the  shoulder 
to  the  lower  edge  of  the  dress  skirt.  For  the  chest  measure,  pass  the  tape 
over  the  chest,  under  the  arms,  and  across  the  back.  Allow  the  tape  measure 
to  lie  smoothly  over  these  parts  and  observe  the  number  of  inches. 

1.  Draw  upon  the  blackboard  an  oblong  18  in.  x  40  in.,  the  shorter  sides 

horizontal ;  and  make  the  left  vertical  dotted,  to  represent  the  line 
where  the  cloth  or  paper  is  doubled. 

2.  From  the  upper  left  corner,  measure  vertically  down  4^  in.  and  mark 

the  point  A,  for  the  lower  part  of  the  front  neck.     From  the   point 

A,  draw  to  the  right  a  horizontal  dotted  line  J\  in.  and  mark  the 
right  end  D,  for  width  of  chest. 

3.  From   the  upper  left   corner,  measure  horizontally  to  the  right  2^  in. 

for  the  upper  part  of  the  front  neck,  8  in.  and  10  in.  for  the  length 
of  shoulder  and  width  of  arm-size,  marking  the  points  respectively 

B,  X,  and  Y.      Connect  B  and  A  by  a  line  curving  gradually  to  the 
right,  for  the  curve  of  the  neck. 

4.  From  the  point  X  draw  downward  a  dotted  vertical  of  8  in.  and  mark 

the  lower  end  E,  for  length  of  arm-size.  On  this  line  mark  the 
point  C  i  in.  below  X.  Connect  C  and  B  by  a  straight  line  for 
the  slope  of  the  shoulder. 

5.  From  Y  draw  downward  a  dotted  vertical  7^-  in.   and  mark  the  lower 

end  F,  for  the  upper   end   of   the   under-arm    seam.     Beginning   at 

C,  connect    C,   D,  E,   and   F   by  a  line   which    curves   gradually  to 
the  left,  for  the  arm-size. 


— /&' 


Fig    73- 


92 


PROGRESSIVE  LESSONS  IN  NEEDLEWORK. 


6. '  From  the  lower  right  corner,  measure  upward  2  in.  on  the  right  verti- 
cal and  mark  the  point  G.  Connect  F  and  G  by  a  straight  line 
for  the  side  seam. 

7.  From  the   lower   left    corner,   measure  horizontally  to  the    right    5   in. 

and  mark  the  point  H.  Connect  G  and  H  by  a  straight  line,  to 
give  the  slope  at  the  lower  end  of  the  side  seam. 

8.  Copy  on    doubled  paper  and  cut  from   A  to   B,   C,   D,   E,   F,  G,  and 

H,  leaving  -|-  in.  outside  the  shoulders  and  side  lines  for  seams. 

PATTERN    OF    THE    BACK    OF    TIER    (Fig.  74). 

1.  Draw  upon  the  blackboard  an  oblong    18  in.  X  39  in.,  the  short  sides 

horizontal,  and  the  left  vertical  dotted,  to  represent  the  line  where 
the  cloth  or  paper  is  doubled. 

2.  From   the   upper  right  corner,  measure    horizontally  to  the  left  2   in.  ; 

mark  this  point  A.  From  A  draw  a  vertical  line  to  the  lower 
edge  of  the  oblong.  This  line  gives  the  width  of  the  hem  for  but- 
tons' and  buttonholes  at  the  back. 

3.  From  the  upper  right   corner,  measure  horizontally  to  the   left  4  in., 

9^-  in.,  and  io.i  in.,  for  the  length  of  the  shoulder  seams  and  width 
of  arm-size,  marking  the  points  respectively  B,  X,  and  Y. 

4.  From    X    draw    downward    a    dotted    vertical    line    4    in.    and    mark 

the  lower  end  D,  for  the  curve  of  the  back  arm-size.  On 
this  line  mark  the  point  C,  i|  in.  below  X,  for  lower  end  of 
shoulder  seam.  Connect  B  and  C  by  a  straight  line. 

5.  From  the  point  Y  draw  downward  a  dotted  vertical  6|-  in.  and  mark 

the  lower  end  F.  Connect  C,  D,  and  F  for  the  curve  of  the  arm- 
size  by  a  line  which  curves  slightly  to  the  right. 

6.  From  the  lower  left  corner,  measure  upward  2  in.  on  the  left  vertical 

and  mark  the  point  G.  Connect  F  and  G  by  a  straight  line  for 
the  side  seam. 


93 


94 


PROGRESSIVE  LESSONS  IN  NEEDLEWORK. 


7.  From  the  lower  right  corner,    measure   horizontally  to   the   left  4   in. 

and  mark  the  point  H.  Connect  G  and  H  by  a  straight  line,  for 
the  slope  at  the  lower  edge  of  the  side  seam. 

8.  Copy  on  paper  and  cut   from  A  to  B,  C,  D,  E,  and  F,  leaving  |-  in. 

outside  the  shoulder  and  side  lines  for  seams. 

9.  Cut  the  cloth  from  the  paper  pattern  thus  made.    For  this  tier  it  requires 

3  yds.  of  cloth  from  26  in.  to  30  in.  wide,  according  to  the  size  of 
the  child.  The  pattern  will  fit  pupils  from  ten  to  thirteen  or  four- 
teen years  of  age.  When  26  in.  material  is  used,  small  gores  may  be 
placed  at  the  lower  end  of  the  side  seam  to  make  the  required  width. 

The  back  of  the  tier  is  made  shorter  than  the  front,  that  the 
shoulder  seam  may  be  sewed  i  in.  below  the  top  of  the  shoulder.  The 
front  is  carried  over  the  shoulder  to  meet  this  line,  and  for  this  reason 
is  made  I  in.  longer. 

Baste  with  \  in.  stitches,  \  in.  spaces,  and  sew  together  the  seams  that 
are  notched  alike.  Measure  the  number  of  inches  around  the  neck  of  the 
tier,  and  make  a  band  from  the  selvedge  way  of  the  cloth  2\  in.  wide  and 
i  in.  longer  than  the  size  of  the  neck.  Baste  the  band  to  the  neck  (laying 
the  right  sides  together),  then  stitch  the  tier  to  the  band,  fold  over  \  in.  of 
the  raw  edges  on  the  side  and  ends  ;  oversew  the  ends,  and  hem  down  the 
side.  Make  the  buttonholes  on  the  right  hem,  and  sew  the  buttons  on  the 
left  hem. 

SLEEVE    PATTERN    FOR    TIER. 

This  pattern  consists  of  two  pieces  ;  they  are  called  upper  and  under 
parts  of  the  sleeve.  The  upper  part  is  much  larger  than  the  under  part, 
that  the  two  seams  (the  inner  seam  and  the  outer  seam)  may  not  be 
easily  seen  when  the  sleeve  is  worn. 

Measuring  for  a  sleeve  :  — 

Begin  2  in.  above  the  shoulder  joint,  carry  the  tape  measure  to  the 
bended  elbow,  and  note  the  distance  from  the  shoulder  joint  to  this 


FIFTH    YEAR'S  SEWING. 


95 


point ;  continue  with  the  tape  measure  to  the  wrist  and  note  the  distance 
from  the  elbow  to  the  wrist.  Measure  from  the  upper  ertd  of  the  first 
under-arm  seam  of  the  dress  to  the  wrist ;  notice  the  measure  at  the 
bend  of  the  arm.  When  sewing  the  sleeve  to  the  garment,  the  sleeve 
should  be  held  next  the  sewer. 

FRONT  OR  UPPER  PART  OF  THE  SLEEVE  (pig.  75). 

To  draw  a  diagram  for  sleeve,  when  the  arm  on  the  outside  meas- 
ures 14  in.  from  shoulder  joint  to  bended  elbow ;  10  in.  from  bended 
elbow  to  wrist  ;  8  in.  from  upper  part 
of  under-arm  seam  to  elbow  ;  8  in. 
from  elbow  to  wrist. 

1.  Draw  an  oblong  iij  in.  X  24  in.,  the 

short  sides  horizontal. 

2.  From    the   upper  left   corner,    meas- 

ure down  5  in.  on  the  left  verti- 
cal and  mark  the  point  A. 
From  the  same  corner,  measure 
horizontally  to  the  right  6^  in. 
and  mark  the  point  B.  Connect 
A  and  B  by  a  reversed  curve, 
that  curves  slightly  to  the  right 
and  then  slightly  to  the  left,  to 
give  the  curve  to  the  top  of  the 
sleeve. 

3.  From   the   upper   right-hand    corner, 

measure  down  on  the  right  ver- 
tical 2  in.  and  mark  the  point  C. 

Fig.  75.  — Scale  J"=i". 

Connect  B  and   C  by  a  line  that 

curves  slightly  to  the  right ;  this  completes  the  top  line  of  the  sleeve. 
4     From    the    upper   right    corner,   measure   down    on    the   right   vertical 


96  PROGRESSIVE  LESSONS  IN  NEEDLEWORK. 

I3|-  in.  and  mark  the  elbow  point  D,  -|-  in.  in  from  the  right  verti- 
cal. Connect  C  and  D  by  a  straight  line  for  the  upper  part  of 
the  back  seam. 

5.  From  the  lower   right    corner,  measure    horizontally  to  the   left  6  in. 

and  mark  the  point  F.  From  F  measure  vertically  upward  \\  in. 
and  mark  this  point  E.  Connect  E'and  F  by  a  straight  line  for  the 
back  slope  of  the  hem  of  the  lower  part  of  the  sleeve.  Connect 
E  with  D  by  a  line  which  curves  slightly  to  the  right ;  this  finishes 
the  lower  part  of  the  back  seam. 

6.  From    the    lower   left    corner,   measure  up  on    the   left    vertical    3    in. 

and  5  in.  and  mark  the  points  respectively  G  and  H.  Connect  G 
and  F  by  a  straight  line  for  the  lower  edge  of  the  sleeve.  Con- 
nect H  and  E  by  a  straight  line  for  the  line  at  which  the  hem 
is  folded. 

7.  From    D    draw   to   the    left    a    dotted    horizontal    of    8    in.    (less     or 

more  according  to  the  width  desired  at  the  elbow)  and  mark 
the  left  end  X.  Connect  A,  X,  and  G  by  a  line  which  curves 
gradually  to  the  right.  This  line  gives  the  curve  for  the  inner 
or  front  seam  of  the  sleeve.  Copy  upon  paper  and  cut  from 
A  to  B,  C,  D,  E,  F,  G,  H,  X,  and  A. 

BACK  OR  UNDER  PART  OF  SLEEVE  (Fig.  76). 

1.  Draw  on  the  blackboard  an  oblong  8|  in.  x  22    in.,  with    the    shorter 

sides    horizontal. 

2.  From  the  upper  left  corner,  measure   horizontally  to  the  right   2\  in. 

and  7  in.  and  mark  the  points  respectively  C  and  X.  From  X 
draw  downward  a  dotted  vertical  3^  in.  and  mark  the  lower  end 
A.  Connect  C  and  A  by  a  line  which  curves  downward  and 
which  reaches  its  lowest  point  quite  near  A,  making  a  curve  on 
the  top  of  the  under  part  of  the  sleeve. 

3.  From    the    upper    left    corner,    measure    down    on    the    left    vertical 


FIFTH    YEAR'S  SEWING. 


97 


6. 


\2\  in.   and  mark   the    elbow    point    D.     Connect    C    and    D    by    a 
straight   line  for  the  upper  part  of  the  back  seam. 

From  the  lower  left  corner,  measure  horizontally  to  the  right  4]  in. 
and  mark  the  point  F.  From  the  point  F  measure  vertically  upward 
\\  in.  and  mark  the  point  E.  Connect  E  and  F  by  a  straight 
line  for  the  back  slope  of  the  hem  at  u 

the  lower  part  of  the  sleeve.  Connect 
D  and  E  by  a  line  two-thirds  of  which  is 
straight,  one-third  curved.  The  curve 
begins  3  in.  below  D  and  continues  to  D 
for  the  elbow  curve.  This  finishes 
the  lower  part  of  the  back  seam. 

From  the  lower  right  corner,  measure  up  on 
the  right  vertical  2\  in.  and  4  in.,  marking 
the  points  respectively  G  and  H.  Con- 
nect F  and  G  by  a  straight  line  for  the 
lower  edge  of  the  sleeve.  Connect  E  and 
H  by  a  straight  line  for  the  line  upon 
which  the  hem  is  to  be  folded. 

From  D  draw  to  the  right  a  dotted  hori- 
zontal of  5  in.  (less  or  more  according 
to  the  width  desired  at  the  elbow)  and 
mark  the  right  end  X.  Connect  A,  X, 
and  G  by  a  line  which  curves  gradually  to 
the  left  and  becomes  straight  from  X  to  G.  This  line  gives  the 
curve  for  the  inner  or  front  seam  of  the  sleeve.  Copy  upon  paper 
and  cut  from  C  to  D,  E,  F,  G,  X,  and  A  to  C. 

After  a  pupil  has  drawn  the  sleeve  on  paper  and  cut  by  the  lines, 
she  can  compare  the  parts  until  familiar  with  all  the  lines  and 
can  see  how  these  two  parts  differ  and  how  they  must  be  placed 
to  fit  the  arm.  The  cloth  may  next  be  cut  from  the  paper  pattern. 


Fig    76. —Scale  J"=i 


98 


PROGRESSIVE  LESSONS  IN  NEEDLEWORK. 


BASTING    AND    MAKING    A    SLEEVE. 

When  the  cloth  has  been  cut  from  this  pattern,  place  the  lower 
edges  of  the  inner  seam  evenly  together  and  baste  from  this  point  to 
the  top ;  place  the  lower  edges  of  the  back  seam  evenly  together  and  baste 
in  the  same  way.  Stitch  the  seam  below  the  basting ;  turn,  baste,  and 
sew  the  hem.  At  the  top  of  the  upper  part  of  the  sleeve  make  two 
lines  of  running  stitches,  the  first  line  |  in.,  the  second  ^  in.  below 
the  top  edge,  with  which  to  gather  the  fulness.  Make  a  notch  in  the 
edge  at  the  point  B,  and  place  this  point  i  in.  in  front  of  the  shoulder 
seam  on  the  arm-size,  and  then  arrange  the  fulness  to  the  arm-size 
4  in.  in  front  of  B  and  2  in.  back  of  B,  being  careful  to  keep  the 
inner  seam  of  the  sleeve  well  under  the  arm.  This  pattern  allows  for 
one-half  inch  seams. 

When  a  coat  sleeve  with  a  full  top  is  desired  for  the  sleeve  of  a 
dress,  cut  by  this  tier  sleeve  pattern  ;  if  it  is  too  loose  below  the  arm- 
size,  curve  the  back  seam  to  fit  the  arm. 

In  cutting  sleeves,  never  double  the  cloth  except  in  double  width 
material,  because  the  four  pieces  can  be  cut  more  economically  from 
single  cloth. 

Pupils  should  learn  to  cut  some  of  their  patterns  freehand. 

The  following  description  is  for  a  blouse  or  shirt  sleeve.  The  pupil 
watches  the  teacher,  who  cuts  out  the  pattern  from  a  doubled  piece  of 
paper,  the  folded  edge  of  which  is  used  as  an*  inner  seam.  After  the 
upper  side  of  the  sleeve  is  cut,  the  paper  is  unfolded,  and  the  curve 
of  the  top  is  cut  for  the  under  side.  The  pattern  is  then  tried  on 
the  arm  and  pared  to  fit  exactly.  The  pupil  now  takes  the  pattern 
and  traces  it  upon  the  blackboard.  She  then  spreads  the  pattern  upon 
her  desk  and  compares  it  carefully  with  the  one  drawn  on  the  black- 
board. She  then  erases  the  drawing  on  the  blackboard  and  draws  on 
paper,  freehand,  a  sleeve  for  the  right  arm,  then  a  sleeve  for  the  left  arm. 
She  then  takes  a  piece  of  paper  and  cuts  freehand  this  pattern  of  a  sleeve. 


FIFTH    YEAR'S  SEWING. 


ORNAMENT. 


99 


In  this  year  a  pleasing  arrangement  can  be  made  from  their  drawing 
lessons  (Fig.  77)  for  a  design  to  embroider  in  couching,  French  knot, 
and  outline-stitch,  not  alone  for  ornament,  but  to  lead  the  pupil  to 


Fig.  77.  — Design  for  embroidery  from  a  drawing  lesson. 

study  the  grace  and  beauty  of  designs  for  that'  kind  of  needlework 
which  will  make  a  garment  or  any  article  to  which  it  is  applied  more 
beautiful,  thus  carrying  into  ornament  what  has  been  learned  for  actual 
use,  such  as  hemstitching,  darning,  herringbone  stitch,  etc. 

Embroidery   darning   is   for    ornament    and    is    worked    on    the    right 
side   of   the  cloth.     It    is  made    with    straight    edges    and    without    loops. 


100 


PROGRESSIVE  LESSONS  IN  NEEDLEWORK. 


The  slitch  is    the    same   as    that   used    in    darning   a   thin   place  which    is 
not   yet    worn    into   holes. 

Couching  is  fastening  a  cord  on  a  piece  of  work  by  oversewing 
or  by  embroidery  edging  stitches ;  it  is  used  only  in  ornamental  work 
(Fig.  78). 

To  make  a  French  knot,  fasten  the  thread  with  a  rolled  knot  on  the 
under  side ;  then  bring  the  needle  to  the  upper  side,  pulling  the  thread 

through  the  cloth.  Hold  it  by  the  left 
thumb  down  to  the  cloth  at  nearly  an 
inch  from  this  place,  and  pass  the  needle 
alternately  under  and  over  the  thread  from 
above  to  below  between  this  place  and 
the  thumb,  pointing  it  toward  the  thumb. 
Turn  the  needle  back  and  pass  it  perpen- 
dicularly through  to  the  under  side  as 
near  as  possible  to  the  place  where  the 
thread  comes  up,  then  draw  the  thread 
through,  not  too  tight. 

With  heavy  worsted  there  should  be 
but  one  twist,  with  silk  or  cotton  two  or 
more  twists  about  the  needle,  according  to 

the  size  of  the  knot  required.    This  French  knot  is  used  only  for  embroidery. 
Outline-stitch    is   the     stitch    with    which    designs    are    outlined,    and 
is  also  used  to  fill    in    on    some   kinds    of   embroidery. 

To  make  outline  stitch,  the  work  should  be  held  so  that  the  line 
to,  be  embroidered  runs  from  the  person.  Fasten  the  thread  by  three 
running  stitches  along  this  line ;  with  the  needle  pointing  toward  the 
chest,  draw  the  thread  through  until  but  two  stitches  remain  in  the 
cloth ;  this  leaves  the  end  on  the  under  side.  Now  carry  the  needle 
\  in.  backward  over  these  stitches,  and  take  up  on  it  four  threads 
along  the  line  of  the  design  with  the  needle  still  pointing  toward  the 


Fig.  78.  —  Couching. 


FIFTH    YEAR'S  SEWING.  IOI 

chest,  and  the  loop  of  the  thread  held  to  the  right  of  the  line.  Draw 
the  needle  through,  and  carry  it  backward  another  ^  in.  along  the  line 
of  the  design,  and  continue  as  before  ;  and  so  on.  At  points  or  corners 
the  ingenuity  of  the  worker  must  be  exercised  in  deciding  how  to 
shorten  the  stitch,  and  where  to  put  the  needle  through  so  as  to 
preserve  the  outline. 

When  a  large  design  is  made,  or  worked  on  coarse  material,  a  longer 
stitch  is  made. 


CHAPTER   VI. 
Sixth  Year's   Sewing. 

THE  training  of  previous  years  should  have  taught  pupils  the  best 
way  of  preparing  and  finishing  work,  so  that  the  time  in.  this  year  may 
be  used  in  gaining  a  practical  knowledge  of  cutting,  fitting,  and  making 
simple  cotton  dresses. 

Linings  for  these  dresses  are  fitted  by  the  pupils  to  some  girl's  form  ; 
this  work  together  with  the  practice  in  measuring  makes  a  thorough  founda- 
tion for  the  future  study  of  a  "  System  for  Dress-cutting."  That  process  of 
fitting  is  more  rapid  when  the  proportions  of  a  form  are  well  understood. 
A  gored  skirt  is  often  used  for  a  skirt  lining  or  for  an  under-skirt,  and  a 
pattern  for  this  is  made  from  measurement  this  year. 

In  connection  with  this  instruction,  talks  are  to  be  given  on  what 
constitutes  true  and  refined  taste  in  dress.  The  pupil  should  learn  that 
a  good  material  simply  made  is  always  appropriate,  attractive,  and  service- 
able. The  talks  on  good  taste  are  illustrated  and  enforced  when  buying 
neat  prints  and  ginghams  for  school  practice,  and  by  showing  how  to 
make  garments  fit  well. 

The  importance  of  considering  individual  form  in  the  choice  of  material, 
and  in  the  pattern  and  style  of  dress,  should  be  pointed  out.  For  instance, 
fulness  in  waist  or  skirt,  which  is  becoming  to  a  slender  person,  is  very 
unbecoming  to  a  stout  person,  especially  if  she  is  short  also.  A  tall  and 
slender  person,  to  whom  checks  are  becoming,  should  avoid  stripes  that  run 
lengthwise,  as  they  apparently  add  to  her  height.  A  short  person  looks 


SIXTH   YEAR'S  SEWING. 


103 


shorter  and  broader  in  plaids  or  large  checks.  Flounces  decrease  the 
appearance  of  height  and  add  to  the  width,  as  do  tucks  and  puffings. 
Narrow  lengthwise  pleats  seemingly  add  to  the  height.  Plain,  dark  colored 
cloths  make  the  figure  appear  slighter  than  do  light  colored  cloths.  These 
and  similar  facts,  should  be  considered  before  a  dress  is  bought. 

Also  that  the  number  of  yards  of  material  needed  for  a  dress  depends 
upon  the  size  of  the  person  to  be  fitted  and  the  width  of  the  material 
to  be  used. 

The  teacher  may  have  for  this  class  a  book  of  fashion  plates,  such  as 
would  be  appropriate  for  pupils  to  use  when  choosing  designs  for  making 
their  own  dresses  ;  and  also  a  few  patterns  to  assist  them  in  forming 
others  ;  this  practice  will  lay  the  foundation  for  dress  designing.  Crayons 
or  water  colors  can  be  used  advantageously  to  illustrate  patterns. 

Especial  care  should  be  taken  with  the  basting,  as  a  waist  which  is 
well  cut  may  be  spoiled  by  careless  basting.  The  waist  seams  should  have 
bastings  \  in.  long,  like  the  first  basting  taught  on  canvas. 

In  basting  wide  hems  and  facings,  several  points  should  be  carefully 
observed : — 

1.  Any  large  piece  of  work,  like  a  dress  skirt,  should  be  laid  upon  a 
table    or  desk,  the   doubled  edge   of   the  hem   nearest    the  worker.     Then 
the  work  is  not  being  dragged  out  of  the  hands  by  its  own  weight. 

2.  The  hem    to    be  basted   should    lie  flat    upon  the   table,  while  the 
fingers  of  the  left  hand  move  along  the  hem  in  front  of  the  needle,  as  it 
is  pushed  through  by  the  right  hand  ;  this  holds  the  hem   in    place.     The 
basting   should    be   kept  evenly  \  in.  from    the  folded    edge  of   the   hem. 
This  practice  greatly  helps  a  person  to  properly  baste  linings  to  the  dress 
material,  although  the  basting  stitches  are  there  made  longer,  and  one  inch 
from  the  cut  edges. 

3.  When  turning  the  hem  in    checked  or  striped  cloths,  care    should 
be  taken  to  match  the  checks  or  stripes  at  each  seam.     If  they  are  exactly 


104 


PROGRESSIVE  LESSONS  IN  NEEDLEWORK. 


-rront 


matched  on  the  hem,  there  will  be    no  further   trouble  with    them.      Good 
results  depend  on  careful  preparation. 

Great  care  should  be  used  in  cutting  plaids  :  they  are  very  difficult 
to  match,  and  material  is  often  wasted  when  not  cut  by  the  right  line. 
When  the  checks  are  of  two  colors,  say  pink  and  white,  cut  them  so  as 
to  separate  the  checks  exactly,  then  the  whole  pink  checks  will  be  on  one 
end  of  the  length,  and  the  whole  white  checks  on  the  other  end.  Join 
the  pink  checks  for  the  lower  edge  of  the  skirt,  and  all  the  white  checks 
will  be  on  the  upper  edge  of  the  lengths.  Uneven  plaids,  if  cut  exactly 

in  the  centre  of  the  checks  or  close 
to  the  edge  of  the  check,  can  be 
matched  the  same  way. 

When  a  pupil  has  obtained 
good  results  in  cutting  and  fitting 
a  round  waist  pattern  from  paper 
and  cambric,  then  cloth  for  a  dress 
lining  can  be  given  to  her.  After 
cutting  a  round  waist  lining,  she  can 
be  taught  the  difference  between  a 
round  waist  and  a  basque. 

A  round  waist  is  often  made 
with  one  dart  at  each  side  of  the 
front  and  has  all  its  seams  finished  at  the  waist  line  (Fig.  79).  A  basque 
differs  from  it  in  having  all  the  seams  fitted  below  the  waist  line ;  two 
or  more  darts  at  each  side  of  the  front ;  one  or  more  under-arm  pieces  for 
each  side  of  the  waist ;  and  one  side  form  for  each  side  of  the  back 
(Fig.  80).  The  back  of  a  basque,  like  the  round  waist,  is  divided  by  a 
centre  seam.  The  centre  pieces  of  the  back  have  a  gradual  curve  from 
the  back  arm-size  to  the  waist  line.  Particular  attention  should  be  given 
to  these  back  centre  parts,  as  the  symmetry  of  the  entire  back  depends  on 
their  proportion.  For  a  24  in.  waist  these  centre  pieces  should  measure 


Fig.  79.  —  Pattern  of  a  round  waist.    See  page  115. 


SIXTH    YEAR'S  SEWING. 


105 


at  the  waist  line  \\  in.  after  the  seams  are  sewed;  they  should  be  increased 
or  lessened  according  to  the  size  of  the  waist. 

To  prepare   a  lining  and  fit  it   to   a  form :  —  * 

For  a  form  which   has   a   bust   measure  of   32  in.  and  waist   measure 
of  24  in.,  take  i^  yds.    of   lining.     (The   cut   edges   are   on    the  width   of 


Fig.  80  —  Pattern  of  a  basque. 

the  cloth.)  Pin  the  cut  edges  together,  as  the  cloth  is  to  be  cut  double, 
and  both  sides  of  the  lining  are  fitted  to  one  side  of  the  form.  Turn 
\\  in.,  for  a  hem.  The  width  is*  now  vertical,  the  length  of  the  cloth 
horizontal.  The  width  threads  of  cloth  stretch  in  wearing,  and  the 
lining  is  cut  in  this  way  to  remove  all  tendency  to  wear  short-waisted. 


*  For  a  round  waist  or  basque. 


IO6  PROGRESSIVE  LESSONS  IN  NEEDLEWORK. 

To  pin  the  lining  to  the  model  form :  — 

From  one  end  of  the  fold  of  the  hem,  measure  vertically  4^  in.  From 
the  same  end,  measure  horizontally  2  in.  Cut  the  curve  from  4^  in.  to 
2  in.,  place  the  4^  in.  point  at  the  lower  part  of  the  front  neck  and  pin 
the  hem  to  the  centre  of  the  front,  placing  the  pins  i^  in.  apart.  Pin 
down  the  desired  length  for  a  basque  or  a  round  waist. 

To  form  the  darts  :  — 

From  the  folded  edges  of  the  hem  at  the  fullest  part  of  the  chest, 
measure  horizontally  to  the  left  3  in.  and  5^  in.,  place  a  pin  at  the  3  in. 
point  and  at  5^  in.  point,  for  the  top  of  the  darts.  Pin  the  darts  in  the  same 
manner  as  in  the  round  waist,  fitting  the  seams  below  the  waist  line. 
The  darts  will  now  be  2|  in.  apart  at  the  top,  i  in.  apart  at  the  waist  line, 
and  i^  in.  at  the  lower  edge  of  the  basque.  Draw  the  lining  smoothly 
and  pin  it  to  the  shoulder.  From  the  folded  edges  of  the  hem  smooth  and 
pin  the  lining  to  the  arm-size  and  under  the  arm  ;  cut  the  arm-size. 

To  fit  the  under-arm  pieces  :  — 

Pin  vertically  two  straight  pieces  of  the  lining  together  (to  hold  the 
under  pieces  together  while  fitting) ;  pin  these  pieces  by  a  horizontal  thread 
to  the  waist  line,  and  pin  by  a  vertical  thread  from  the  waist  line  to  the 
arm-size ;  continue  the  front  curve  of  the  arm-size  by  cutting  these  pieces  ; 
pin  the  fronts  to  the  under-arm  pieces,  making  the  curve  for  the  body  on 
the  fronts  and  below  the  waist  line.  This  makes  the  first  under-arm  seam. 

To  fit  the  back  :  — 

Using  the  cloth  double,  fold  i-|  in.  as  for  a  hem,  pin  this  fold  down 
the  centre  of  the  back,  placing  the  pins  i|  in.  apart.  Five  in.  above  the 
waist  line,  pin  a  dart  beginning  with  one  thread  (as  in  a  front  dart),  curve 
this  dart  to  the  form,  making  it  |  in.  wide  at  the  waist  line ;  then  curve  out- 
ward below  the  waist  line  to  fit  the  form.  Beginning  at  the  neck,  smooth 
the  lining  from  the  pinned  fold  to  the  shoulder,  pin  the  front  and  back 


SIXTH    YEAR'S  SEWLVG. 


107 


together  for  the   shoulder  seam,  which  should  be  5   in.  long.     Make  this 
seam   I   in.  back  from  the  top  of  the  shoulder. 

To  cut  the  back  arm-size  and  curve  for  the  side  form  :  — 
Cut  vertically  downward  3  in.  from  the  lower  end  of  the  shoulder  seam 
for  the  back  arm-size  ;   from  this  point  cut  the  curve  for  the  side  form, 
making  the  back  centre  pieces  2  in.  wide  at. the  waist  line. 

To  fit  the  side  form  :  — 

Pin  two  straight  pieces  of  the  lining  by  a  horizontal  thread  to  the  waist 
line  and  pin  by  a  vertical  thread  from  the  waist  line  to  the  upper  part  of  the 
curve  ;  pin  this  side  form  smoothly  to  the  curve,  taking  J  in.  seam  from  the 
back  curve  ;  this  seam  curves  the  side  form  exactly  like  the  back  ;  below 
the  waist  line  the  side  form  has  a  straight  edge.  (We  are  describing  a  plain 
basque, — all  these  seams  can  be  altered  at  the  fancy  of  the  maker.)  The 
curve  to  fit  the  body  below  the  waist  line  is  cut  on  the  front  edge  of  the 
back  centre  pieces.  Pin  the  side  forms  to  the  under-arm  piece.  Having 
brought  the  front  and  back  smoothly  together,  begin  pinning  these  parts 
together  half-way  between  the  waist  line  and  the  aVm-size  ;  from  this  point 
continue  pinning  the  seam  down  to  the  waist  line,  then  pin  from  the 
centre  of  the  seam  to  the  arm-size.  By  following  these  directions,  the  seam 
will  not  wrinkle.  The  curve  to  fit  the  body  below  the  waist  line  is  cut  on 
the  back  edge  of  the  under-arm  piece.  When  all  the  seams  are  securely 
pinned,  take  the  pins  from  the  front  hem  and  from  the  back  centre  fold, 
pare  all  the  seams  to  within  i  in.  of  the  pins.  Make  a  notch  in  every  seam  at 
the  waist  line  for  guides  to  commence  basting  the  different  parts  together. 
A  dress  waist,  to  be  in  good  proportion,  should  have  that  part  of  the  waist 
lining  which  is  between  the  last  dart  and  first  under-arm  seam  nearly  equal 
in  measurement  to  the  back  side  form  and  under-arm  piece  (or  pieces). 

If  the  eye  is  trained  in  proportions,  a  good  pattern  may  be  cut  without 
exact  measurement. 

A  round  waist  or  a  basque  lining  may  be  fitted  to  a  pupil's  form   in 


io8 


PROGRESSIVE  LESSONS  IN  NEEDLEWORK. 


the  same  manner.  Before  fitting  to  the  form,  let  a  pupil  draw  on  the  black- 
board a  picture  of  a  round  waist  like  Fig.  79;  then,  on  a  pupil's  form, 

measure  from  the  top  of  the  neck  curve 
to  the  waist  line  ;  take  her  chest  measure 
according  to  direction  for  the  tier ;  make  an 
oblong  from  these  measurements,  using  the 
first  measure  for  the  length,  and  one-half  of 
the  second  measure  for  the  width  of  the 
oblong  ;  divide  this  oblong  into  four  parts 
by  connecting  the  middle  points  of  the  oppo- 
site sides.  In  this  oblong  draw  freehand  a 
picture  of  a  round  waist,  using  the  dividing 
lines  as  guides  for  its  proportions.  This  prac- 
tice is  a  great  help  in  learning  proportions. 

Thin  white  cotton  is  best  for  lining  a 
wash  dress,  because  it  has  no  color  to  stain 
the  dress  when  it  is  laundered.  This  lining 
should  be  laundered  before  cutting,  then  the 
shrinking  will  not  affect  the  fitting.  For  a 
girl  fourteen  years  old,  I  yd.  of  lining  is 
needed  for  a  round  waist,  and  i|  yds.  of 
lining  for  a  basque. 

Choose  from  the  book  of  models  the 
pattern  from  which  to  make  a  dress.  Make 
a  picture  of  this  on  the  blackboard  with  col- 
ored crayons,  and  on  drawing  paper  •  with 
pencil  and  colored  inks  (Fig.  81).  Then  cut 

from  stiff  manilla  paper  a  waist  and  skirt  lining,  as  if  for  a  good-sized  doll  ; 
baste  these  together  and  use  them  for  a  foundation  over  which  striped  or 
checked  tissue  paper  can  be  pasted  or  sewed  in  the  style  chosen,  being  care- 
ful to  match  checks  or  stripes.  This  gives  a  model  in  miniature  (see  Fig.  82). 


Fig.  81.  —  Pupil's  drawing  fror 
of  models. 


SIXTH    YEAR'S  SEWING. 


109 


Then  take  the  thinnest  kind  of  manilla  paper  to  represent  the 
dress  material,  and  pin  it  over  the  dress  lining  in  the  same  manner 
as  the  tissue  paper  was  arranged  on  the  small  model.  Use  the  manilla 
paper  for  a  pattern  from  which  to  cut  the  dress  material. 

In  cutting  the  dress 
goods,  be  careful  to  have  the 
corresponding  pieces  for  the 
two  sides  of  the  waist  correct. 
If  both  are  cut  together,  the 
cloth  must  be  folded  so  that 
the  right  sides  lie  together. 
Single  width  cloth  can  be 
cut  more  economically  if  not 
folded.  If  one  piece  is  cut 
first,  it  should  be  laid  either 
right  side  on  the  right  side, 
or  wrong  side  on  the  wrong 
side,  of  the  cloth  from  which 
the  other  is  to  be  cut.  Show 
on  the  blackboard  the  proper 
position  of  the  right  sleeve 
to  the  left  sleeve  when  cut 
correctly.  -Be  very  exact  in 
cutting  curves. 

After  the  dress  material 
is  cut,  the  pieces  should  be 
laid  on  the  corresponding 

pieces  of  the  lining,  and  the  two  smoothly  basted  together  I  in.  from 
the  edge,  with  stitches  from  i  in.  to  ij  in.  long.  The  seams  should 
then  be  basted  with  short  basting  stitche"s  of  \  in.,  always  beginning 
at  the  notches  made  at  the  waist  line. 


Fig.  8a.  —  Paper  dress  made  by  a  pupil. 


IIO  PROGRESSIVE  LESSONS  IN  NEEDLEWORK. 

To  prepare  a  plain  round  skirt  for  sewing  to  the  waist  or  band :  — 
Divide  the  skirt  and  waist  or  band  into  corresponding  halves  by 
cross-stitches  of  a  colored  thread,  which  show  readily  against  the  cloth. 
Turn  the  top  edge  until  the  skirt  is  the  desired  length.  Gather  the 
skirt  on  the  right  side,  making  the  stitches  \  in.  long  and  spaces  ^  in. 
long  for  gathering  the  back  breadth ;  gathering  stitches  \  in.  long  and 
spaces  \  in.  for  the  side  breadths  ;  for  the  front  breadth  even  stitches 
and  spaces  of  -|  in. 

To  sew  a  skirt  to  the  waist  or  band :  — 

Pin  the  centres  of  the  waist  and  skirt  firmly  together ;  hold  the  skirt 
and  gathers  toward  the  sewer,  take  one  gather  on  each  stitch,  and 
sew  firmly  with  strong  thread.  Sew  the  gathers  of  the  back  breadth 
into  a  space  4^  in.  long.  The  gathers  of  the  front  breadth  sew  into  a 
space  9  in.  long.  The  side  breadths  should  be  sewed  between  these 
measures.  If  the  figure  requires  more  fulness  at  the  sides  than  this 
gives,  the  gathers  can  be  spread  a  little  from  the  front  and  back.  This 
description  is  for  a  skirt  made  from  four  widths  of  gingham. 

PATTERN    OF    ONE-HALF    OF    GORED    SKIRT    (Fig.  83). 

This  pattern  consists  of  three  pieces,  viz.  front,  back,  and  side 
gore,  which  is  one-half  the  skirt.  Quantity  of  material  24  in.  wide 
needed  for  a  skirt,  4  yds. 

HALF    OF    FRONT    BREADTH. 

1.  Draw  on  the  blackboard  an  oblong  n  in.  x  36.  in.,  having  the  shorter 

lines  horizontal  and  the  left  vertical   a   dotted  line,  to  show  where 
the  cloth  or  paper  is  doubled. 

2.  From    the     left     upper     corner,    measure     horizontally    to    the    right 

2^   in.,    3|-   in.,    ?|    in.,    and   9  in.,   marking  the  points  respectively 
A,  B,  C,  and  D. 


1 1 1 


o    y. 


i 


II2  PROGRESSIVE  LESSONS  IN  NEEDLEWORK. 

3.  Half-way  between   A  and   B   draw  downward    a  dotted  vertical  3^   in. 

long,  and  mark  the  lower  end  E.  Connect  points  A,  E,  and  B,  E, 
by  straight  lines ;  this  gives  the  V  which  is  folded  over  or  cut,  to 
fit  the  skirt  to  the  waist. 

4.  From  the  lower  right  corner,   measure  up  on  the  right  vertical  \  in. 

and  mark  the  point  G.  Connect  the  points  D  and  G  by  a 
straight  line  for  a  seam.  Mark  one  notch  on  the  centre  of  this 
line,  to  show  the  edges  which  must  be  joined  together  in 
sewing. 

5.  On    the    line    connecting    D-G,    mark    the    point    F,    6    in.    below   D, 

and  connect  C  and  F  by  a  straight  line  for  the  slope  on 
the  hip. 

6.  Draw    a    straight    line   from    the    lower    left    corner   to    G  ;    this    line 

slopes  the  lower  edge  of  the  front  breadth,  making  it  even  with 
the  straight  edge  of  the  side  gore. 

SIDE    GORE. 

1.  Draw   on   the   blackboard    an    oblong    24    in.  x  36    in.,    making    the 

shorter  lines  horizontal. 

2.  From     the    upper    left     corner,     measure    horizontally    to    the     right 

3  in.,  4l  in.,  and  15  in.,  marking  the  points  respectively  A,  B, 
and  C. 

3.  Half-way  between  A  and  B  draw  downward   a   dotted  vertical  3|  in. 

long  and  mark  the  lower  end  D. 

4.  Connect    the    points    A-D    and    B-D    by    straight    lines ;    this    gives 

the  V  by  which  the   skirt   is  fitted  to  the  waist   in   this  gore. 

5.  From  the  lower  right  corner,  measure  up  on  the  right  vertical    i^    in. 

and  mark  the  point  E..  Connect  E  and  C  by  a  straight  line  for 
the  slope  of  the  side  gore.  In  the  centre  of  this  line  mark 
two  notches,  and  one  notch  in  the  centre  of  the  left  vertical 
line. 


SIXTH    YEAR 'S  SEWING.  !  {  3 

6,  From  the  lower  left  corner  draw  a  straight  line  to  the  point  E.  This 
line  slopes  the  lower  edge  of  the  side  gore,  making  it  even  with 
the  straight  edge  of  the  back  breadth. 

BACK  BREADTH. 

1.  Draw  on  the   blackboard  an   oblong  9  in.  x  36  in.,   the  shorter  lines 

horizontal,  and  the  right  vertical  dotted,  to  show  where  the  cloth 
is  doubled. 

2.  Mark  two   notches   in    the    centre    of   the   left   vertical,    to   correspond 

with  the  notches  in  the  side  gore. 

In  putting  the  breadths  together,  several  points  must  be  carefully 
observed. 

1.  Baste   together   a   straight    and    gored    edge    according    as    they    are 

notched,  —  an  edge  having  one  notch  to  an  edge  having  one 
notch,  an  edge  having  two  notches  to  an  edge  having  two 
notches. 

2.  Always  hold  the  gored  edge  to  the  person  in  basting  or  sewing. 

3.  In    order  to    keep    the    gored    edges    always    toward    the    person    in 

working,  two  scams  on  one  side  of  the  skirt  should  be  com- 
menced at  the  top,  the  top  edges  being  exactly  even  ;  the  seams 
opposite  must  be  commenced  at  the  bottom,  and  the  lower  edges 
can  be  measured  and  arranged  from  'the  side  already  done. 

The  even  hanging  of  the  skirt  depends  upon  the  careful  observation 
of  these  points. 

Cut  evenly  the  lower  edge  of  the  skirt.  Make  all  seams  of  equal 
length,  turn  the  upper  edge  until  the  skirt  is  the  desired  length. 
Sew  a  bias  facing  4  in.  wide  to  the  lower  edge  of  the  skirt, 
and  gather  (as  a  round  skirt)  the  upper  edge  of  the  back  breadth 
and  the  side  gores  to  the  V.  Oversew  to  the  band  or  waist,  as 


114 


PROGRESSIVE  LESSONS  IN  NEEDLEWORK. 


a  round  skirt,  being  careful  to  fasten   the  gathering  threads  when 
the  oversewing  is  finished. 

4.  From  the  middle  of  the  top  of  the  back  breadth  cut  down  9  in.  for 
a  placket.  The  front  breadth  and  part  of  the  side  gores  are  fitted 
to  the  band  by  basting  the  V  to  fit  the  figure. 

Since  the  first  edition  was  printed  the  following  slight  additions  have 
been  made  to  the  white  cloth  sampler.  In  the  broad  hem,  in  the  middle 
strip,  are  made  two  loops  and  two  eyelets.  Loops  are  of  two  kinds  :  flat 
loops  —  used  instead  of  an  eye  with  a  hook  ;  and  round  loops  —  used 
with  a  button  in  place  of  a  buttonhole.  A  flat  loop  is  made  by  bringing 
the  thread  up  from  the  under  side  of  the  work  and  carrying  it  back 
again  \  of  an  inch  away  in  a  straight  line,  in  any  direction  in  which  it 
is  desired  the  loop  shall  slant  when  finished.  Pull  the  thread  so  that 
it  will  lie  easily  on  the  cloth  and  make  three  other  stitches  over  this  in 
the  same  holes.  Then  fasten  the  thread  at  each  end,  on  the  under  side, 
so  that  these  stitches  may  not  Iposen,  bring  the  needle  up  at  the  left  end 
and  make  a  succession  of  embroidery  edge  stitches  over  these  stitches  just 
made,  being  careful  not  to  catch  through  to  the  cloth.  When  finished, 
put  the  needle  through  to  the  wrong  side,  keeping  the  loop  flat,  and 
fasten  the  thread.  A  round  loop  is  made  in  a  similar  manner.  The 
needle  is  brought  up  from  the  under  side  and  put  back  at  nearly  the 
same  place,  leaving  a  loose  sticch  \  or  |  in.  long,  according  to  the  desired 
size  of  loop.  Make  three  more  of  these  stitches,  exactly  the  same  length, 
and  proceed  as  in  a  flat  loop,  first  pinning  the  middle  of  this  loop  to  the 
cloth,  in  order  to  make  the  embroidery  edge  stitches  more  easily  and 
evenly.  Use  40  cotton  and  8  needle  for  making  loops  on  the  sampler. 
An  eyelet  is  used  to  run  a  lacing  through  and  sometimes  in  place  of  an 
eye,  with  a  hook.  An  eyelet  must  first  be  pierced  with  a  stiletto,  breaking 
as  few  threads  in  the  cloth  as  possible  ;  then  oversewing  stitches  are  made 
close  together,  around  the  edges  of  the  hole.  Use  8  needle  and  40  cotton. 


SIXTH    YEAR'S  SKIVING.  j,^ 

When  making  eyelets  in  soft  woollens,  or  in  any  material  that  ravels 
easily,  it  is  better  first  to  overcast  the  edges  with  fine  silk  or  cotton. 
The  edge  of  the  eyelet  when  finished  should  feel  like  a  piece  of  fine  twine. 

A  round  waist  may  be  fitted  with  one  dart  at  each  side  of  the  front, 
one  seam  in  the  back ;  the  waist  may  be  fitted  without  the  under  arm 
piece,  making  one  less  seam.  When  a  waist  is  cut  this  way,  it  is  called 
a  French  waist. 

Fitting  a   round   •waist   to   a   form :  — 

When  fitting  a  lining  to  the  left  side  of  the  form  for  a  round  waist, 
pin  the  hem  to  the  centre  of  the  front,  as  described  on  page  106,  from 
the  fold  of  the  hem,  at  the  fullest  part  of  the  chest,  measure  horizontally 
to  the  left  3|  in.,  place  a  pin  vertically  at  this  point  for  the  top  of  the 
dart ;  from  the  folded  edge  of  the  hem  at  the  waist  line  measure  3j  in. 
horizontally  to  the  left ;  here  place  a  pin  vertically.  The  line  between 
these  two  pins  will  be  the  fold  of  the  dart ;  below  the  bust,  the  fulness 
for  the  dart  is  held  firmly  between  the  thumb  and  first  finger  of  the  left 
hand,  while  pinning  it  with  the  right.  Beginning  at  the  top  of  the  dart, 
draw  the  fulness  until  the  lining  is  perfectly  smooth  ;  pin  the  dart  to  fit 
the  form. 

At  the  waist  line  the  width  of  the  dart  should  measure  I  inch  or 
more,  according  to  the  fulness  of  the  chest  or  bust. 


APPENDIX   A. 


THE  following  papers,  prepared  by  the  pupils,  are  added  to  show  the 
relation  of  drawing  and  language  to  needlework ;  demonstrating  a  lesson 
in  this  way  makes  the  work  educational  as  well  as  practical. 


o 


THIRD   YEAR'S   SEWING. 
A  Stitched-in  Patch. 

I    first    cut    the    worn    or    torn    place    out    square. 

The    four    edges    are    made    true    by    a    drawn    thread. 

Then    I    make    the    bias    cuts,    which    are    small    cuts 

|  in.  in  each  corner,  and  crease  the  edges  to 
mark  for  a  line  of  stitching.  Then  I 
mark  the  lengthwise  of  my  cloth  and 
patch  by  a  pin  or  a  crease.  I  lay  the  patch  on  the 
under  side,  and  baste  the  edges  even,  first  taking  a 
few  stitches  out  on  the  patch ;  and 
when  one  side  is  finished,  I  sew  a 

few  stitches  out  on  the  other  side  of  patch,  as  before. 

This   is  to  make  the   corners   square.       I    then    cut    the 

thread,  and  turn  to  the  width   of  my  cloth,   and  begin 

out    on    the    patch.       Then    I    sew    the    sides,    as    I 

117 


PROGRESSIVE  LESSONS  IN  NEEDLEWORK. 

did  before,  until  I  have  the  four 
sides  sewed,  and  overcast  the  raw 
edges. 

My   first    diagram    represents    the 
torn  or  worri  place. 

My  second  diagram  represents  the 
torn  or  worn  place  cut  out  square ;  the  dotted  lines  show  where  it  is  creased. 
My  third  diagram  represents  the  patch  basted  on  to  the  garment. 
My  fourth   diagram   represents  the  patch   stitched  in,  and    the   edges 
overcast. 

My  fifth  diagram  represents  the  patch  finished. 

MARY  STEVERMAN 

W.  H.  Lincoln  School.  (Age  12  years). 


SECOND    YEAR'S    SEWING. 

For  oversewing  we  put  the  two  edges  together,  and  baste  -j1^  in. 
from  the  top.  We  use  No.  2.  basting  line.  We  begin  at  the  right 
hand,  and  sew  to  the  left. 

We  commence  oversewing  by  taking  a  stitch  on  the  right-hand  end  ; 
draw  the  thread  all  but  |  in.,  put  that  ^  in.  on  the  top,  and  go  on 

sewing  over  it  three  stitches.  If  the 
end  of  the  thread  is  now  seen,  cut 
it  off. 

Joining. 

To  join  a  new  thread,  we  go  back 
three  stitches,  then  take  a  stitch  and 
pull  the  thread  through,  leaving  ^  in.  ;  put  that  on  the  top  with  the  other 
end  ;  sew  over  it  four  stitches.  If  the  end  is  seen,  cut  it  off ;  when  we  are 
through,  we  sew  back  two  stitches. 


W.  H.  Lincoln  School. 


AGNES  BROWN 

(Age  10  years). 


APPENDIX. 


Fig.  i. 


THIRD   YEAR'S    SEWING. 
How  I  sew  on  a  Wristband. 

In   preparing  a  piece  of  cloth  to   sew  to  a  band,   I   find  the  middle, 

and    mark    it    with    a    cross-stitch.        Fig.     I     represents     my    cloth.        I 

find    the    middle    of    the    band,    and    mark    it    with    a 

small     line     of     basting     stitches      like      Fig.     2.        I 

make  a  line  of   running   stitches   for  gathering.      Now 
I      draw      these      gathers      into      as 
small  a  space   as    possible,  and  wind 
the    thread    around    a    pin,    and     stroke     my    gathers  ; 
when    this    is    done,    I    pin    the    ends    of    the    gathered 

piece    J   in.   from    the    ends    of    the    band,    like    Fig.    3, 

and  baste   it    to    the    band   ^   in.   below  the  gathering 

thread,    fastening    the    ends    securely    by    three    over- 
sewing stitches  down  to    the   gather- 
ing thread,   now  holding  the  gathers 
toward   me,    take   one    back-stitch    on 
Fig.  4.  every    gather,    take    out    the    bastings,    turn    the    band 

up   from    the    gathers,    baste   and   oversew   the    ends    of   the    band ;    baste 

and   hem  the  other  edge  of  the  band  to  the  gathers,  take  one  stitch  in 

each  gather.      Fig.  4  shows  band  finished. 

NELLIE  E.  JOHNSON 

Heath  School,  Drookllne,  April  18,  1893.  (Age  14  years). 


APPENDIX    B. 


CIRCULAR    TO    H.M.    INSPECTORS. 

The  Lords  of  the  Committee  of  the  Privy  Council  have  issued  the 
following  circular  to  H.M.  inspectors:  — 

[Circular  282.] 

"  EDUCATION  DEPARTMENT, 

"  5th  April,  1889. 

"  Sir,  —  My  Lords  find  that  in  the  children's  needlework,  which  has  been  examined 
by  the  Directress  of  Needlework  at  this  Department,  there  were  many  instances  of  the 
materials  having  been  prepared  and  fixed  before  they  were  distributed  to  the  children. 
The  table  of  exercises,  in  the  Instructions  to  Her  Majesty's  Inspectors,  distinctly  prescribes 
that,  except  in  and  below  Standard  I.,  no  fixing  or  preparation  of  pieces  is  allowable,  and 
you  should  impress  this  rule  upon  the  teachers.  The  children  must  themselves  fold  hems, 
draw  threads  for  stitching,  make  bands,  place  tapes,  fix  buttons  in  position,  cut  button- 
holes, cut  holes  before  patching,  place  patches,  trace  patterns,  etc.  It  is  the  desire  of 
my  Lords-  that  the  needlework  instruction  in  public  elementary  schools  should  be  of  a 
practical  nature,  and  suitable  to  the  wants  of  the  children  in  after-life ;  it  is  therefore 
essential  that  children  should  know  how  to  set  about  a  given  exercise  in  order  to  produce 
a  certain  result  —  their  aptitude  in  fixing  a  patch  the  right  side  and  way  of  the  material 
is  equal  in  importance  to  the  neatness  and  regularity  of  the  stitches.  The  correct  fixing 
and  preparation  of  the  test  specimens  (by  the  children)  must  be  taken  into  account  in 
assessing  the  value  of  the  needlework  of  a  school ;  and,  in  cases  where  assistance  is  gi*Ten 
in  such  fixing  or  preparation,  the  teachers  should  be  warned  that  any  repetition  of  it  at 
future  examinations  will  be  regarded  as  equally  unfair  with  assistance  in  other  parts  of  the 
examination.  —  I  am,  sir,  your  obedient  servant, 

"P.  CUMIN. 

"To 

"H.M.  INSPECTOR  OF  SCHOOLS." 


NEEDLEWORK. 

Progressive  Lessons  in  the  Art  and  Practice  of 

Needlework  for  Use  in  Schools.  By  CATHERINE  F.  JOHNSON,  Teacher 
of  Sewing  in  Public  Schools,  Brookline,  Mass.  Cloth.  Illustrated. 
134  pages. 

This  is  a  text-book  which  explains  needlework  from  its  rudiments,  and 
gives,  with  over  one  hundred  illustrations,  full  directions  for  leading  pupils 
from  the  simpler  steps  of  the  art  through  six  years  of  well-graded  work. 

The  course  of  instruction  outlined  was  planned  for  pupils  in  the 
Lincoln  School,  Brookline,  Mass.,  and  has  been  improved  from  year  to  year, 
until  the  results  are  so  satisfactory  as  to  warrant  the  author  in  yielding  to 
the  public  demands  for  its  publication. 

WHAT  IS   TAUGHT. 

Plain  and  fancy  sewing,  drawing,  designing,  cutting  by  measurements, 
fitting,  —  all  the  arts  of  tailor  and  seamstress. 

The  subject  is  treated  systematically  and  with  an  intelligent  idea  of  the 
needs  of  the  pupils,  resultant  from  long  experience,  thus  placing  sewing 
on  an  equality  with  other  branches  of  Industrial  Training,  in  its  practical 
value  in  the  schools,  as  an  educational  force. 

The  system  has  for  its  constant  purpose  — 

I.    The  training  of  the  body  to  assume  and  keep  correct  position. 
II.    Training  of  the  fingers  to  handle,  properly  the  implements  used. 

III.  Training  of  the  eye  to  quick  and  accurate  perceptions. 

IV.  Training   to    correct    expression    by    requiring    oral    and    written    de- 

scriptions of  work  done. 

V.  Training  of  taste,  will,  and  judgment,  so  that  neatness,  decision, 
perseverance,  patience,  promptness,  thoroughness,  and  economy  of 
materials  becomes  second  nature. 


This  complete  and  systematic  treatment  of  a  comparatively  new  depart- 
ment of  Industrial  Training  will  help  teachers  to  secure  for  sewing  a 
recognition  in  every  manual  training  course.  While  boys  are  learning 
carpentry,  metal-working,  and  printing,  girls  should  have  an  opportunity 
for  perfecting  themselves  in  one  of  the  great  domestic  arts.  This  book 
makes  such  a  work  both  practical  and  pleasant. 


The  following  testimonials  are  from  those   whose    positioi 
enables  them  to  speak  with  authority. 


and   experience 


Professor  John  D.  Runkle,  MauacAutetts  In- 
stitute of  Technology,  and  Chairman  of  Industrial 
Committee  of  School  Board,  Brookline,  Mass.  :  I 
think  it  excellent  in  all  respects.  I  might  not 
feel  so  certain  of  the  method  if  I  had  not  seen  the 
results  in  our  own  schools.  Every  part  of  the 
book  is  the  result  of  experience  in  the  class-room. 
It  has  not  been  hastily  prepared,  but  has  been  an 
actual  outgrowth  cf  long  experience.  It  is  not  a 
large  and  portentious  book;  includes  only  so  much 
as  can  be  carefully  and  thoroughly  gone  over  dur- 
ing the  course.  We  need  the  book  very  much 
in  our  schools,  and  I  feel  sure  that  it  is  needed 
elsewhere. 

Elizabeth  H.  Little,  Teacher  of  Sewing,  New 
bury,  Mass. :  It  is  the  best  book  I  have  seen  on 
the  subject.  I  'think  the  method  of  work  is  far 
beyond  the  methods  that  I  have  seen  used  in 
other  cities. 

Mary  A.  Spear,  late  Principal  of  Model  School, 
State  Normal  School,  West  Chester,  Pa.  :  I  have 
read  the  manuscript  carefully  and  from  a  teacher's 
stand-point.  I  think  the  ideas  there  given  could 
be  worked  out  and  most  satisfactory  results  ob- 
tained by  any  one,  even  though  she  may  have 


had  little  or  no  experience  in  teaching  sewing. 
The  method  is  a  progressive  one,  —  the  work 
gradually  and  steadily  becoming  more  and  more 
difficult.  It  contains  plain  and  practical  direc- 
tions for  doing  various  kinds  of  useful  needle- 
work, and  also  a  few  hints  for  ornamental  work. 
Teachers  can  scarcely  fail  to  obtain  good  results 
when  they  have  such  a  book  for  a  guide.  It  is 
equally  good  for  pupils,  or  for  any  one  learning 
to  sew. 

Louisa  P.  Hopkins,  Board  of  Supervisors, 
Boston,  Mass.:  It  is  more  distinctly  educational 
than  that  of  most  of  our  cities.  It  begins  with 
first  principles,  and  is  gradually  developed  in  con- 
nection with  language  and  drawing  and  close 
observation  of  process  and  material  with  a  careful 
study  of  the  latter.  It  concerns  itself  with  the 
elements  of  sewing,  progressing  by  a  natural  order, 
and  therefore  more  educational  than  industrial 
in  motive.  The  general  plan  of  the  work  and 
progression  is  excellent,  and  the  experience  of 
the  author  is  a  safe  foundation  for  its  precepts 
and  details  of  method.  I  have  no  doubt  it  will 
meet  a  wide  necessity,  and  be  a  very  successful 
book. 


D.    C.    HEATH    &   CO.,  Publishers, 

BOSTON.      NEW  YORK.      CHICAGO.      LONDON. 


12  Good  Reasons 

(selected  from  the  many)  why  Johnson's  Progressive 
Lessons  in  Needlework  is  better  adapted  to  school  use 
than  any  other  book  on  the  subject. 

1 .  The  book  is,  as  its  title  indicates,  progressive. 

2.  The  plan  has  been  thoroughly  tested  and-  has  proved  adequate  to 

the  demands  of  the  school-room. 

3.  The  arrangement  is  such  that  the  pupil  must  think  for  herself. 

Instead  of  having  cloth  cut  and  fitted  by  the  teacher  she  is 
taught  how  to  prepare  and  do  her  own  work. 

4.  The  educational  value  of  the  study  is  kept   constantly  in  view, 

together  with  the  cultivation  of  habits  of  attention,  accuracy, 
and  precision. 

5.  All  direction    are    given  in  language    clear,   definite,  and    easilv 

understood  by  a  novice. 

6.  The  practical  side  of  needlework  is  especially  emphasized.     The 

book  aims  to  give  instruction  to  those  who  have  occasion  "to 
make  and  to  mend." 

7.  The  finger  exercises  are  graded  with  a  view  to  strengthening  the 

hands  and  thus  assist  greaaly  in  other  departments  of  school 
work  —  writing,  drawing,  gymnastics,  etc. 

8.  The  work  of  sewing  is  carried  along  side  by  side  with  Drawing  and 

Language.     See  appendix  containing  papers  prepared  by  pupils. 

9.  The  illustrations  are  photographed  from  work  actually  done  by 

pupils. 

10.  Brookline's   exhibit    of  needlework   (prepared    according    to    the 

course  outlined  in  this  book)  at  the  World's  Fair  was  pro- 
nounced by  experts  to  be  the  best  showing  there. 

11.  The  arrangement  of  the  work  is  such  that  the  expense  per  pupil 

is  very  slight. 

12.  The  book  is  cordially  endorsed  by  such  authorities  as  Prof.  John 

D.  Runkle  (iMass.  Institute  of  Technology)  ;  Mrs.  Louisa  P. 
Hopkins  (Supervisor,  Boston)  ;  Miss  Mary  A.  Spear  (recently- 
principal  of  Model  School,  Westchester,  Pa.),  and  many  others. 

136  pp.     Square   8vo.     Over   100  illustrations.     Introduction   price, 
Cloth,  90  cents.     Boards,  60  cents. 

D.    C.    HEATH    &    CO.,    Publishers 

BOSTON   NEW  YORK   CHICAGO 


NEEDLEWORK. 


HOME   TESTinONY. 

THE  author  of  PROGRESSIVE  NEEDLEWORK  is  teacher  of  sewing  in 
the  public  schools  of  Brookline,  Mass.  From  the  Superintendent, 
Committee,  and  Teachers  we  have  recently  received  the  following 
testimony  to  the  value  of  this  method. 

From  SAMUEL  T.  DUTTON,  Supt.  of  Schools,  Brookline,  Mass. 
PROGRESSIVE  LESSONS  IN  NEEDLEWORK. 

1 .  The  book  contains  work  for  six  years.    And,  as  its  name  implies,  is  a  thoroughly 
progressive  course.    "  From  the  easy  to  the  cl'fficult,"  is  a  ruling  principle  throughout. 
If  children  in  the  kindergarten  and  primary  schools  have  worked  designs  with  the 
needle  upon  perforated  cards,  they  find  it  an  easy  step  to  the  first  exercises  of  this 
course.     In  case  they  have  had  no  such  training  the  initiatory  steps  are  so  simple  that 
no  great  difficulty  is  experienced. 

2.  The  Course  recognizes  hygienic  principles. 

Much  attention  is  given  to  positions  at  the  desk,  finger  exercises  to  promote 
flexibility  and  strength  and  variety  of  muscular  effort  in  the  various  exercises. 

3.  It  aims  to  secure  mental  training  as  well  as  manual  skill.     The  perception  of 
color  and  form,  the  exercise  of  taste  in  designing  and  the  training  of  the  judgment  in 
all  creative  work  are  incidental  features  of  the  method. 

4.  It  provides  for  the  co-ordination  of  needlework  with  other  branches  of  study. 
Drawing  of  design  and  pattern,  language  through  written  exercises,  arithmetic  in  con- 
nection with   measurement   and   estimates,    geography   in   learning   the   sources   of 
material  used,  history  in  considering  the  clothing  of  other  people,  chemistry  as  re- 
.lated  to  dyes,  etc.  —  these  are  instances  of  co-ordination  suggested. 

5.  The  plan  and  its  execution  are  so  displayed  in  the  book  as  to  engage  the  interest 
and  approbation  of  all  thoughtful  teachers.     It  is  no  longer  an  experiment, 'and  all 
who  have  seen  its  practical  working  pronounce  it  unexcelled  as  a  scheme  of  educa- 
tional needlework.  _ (Jan.  20,  1894.) 

From  Prof.  J.  D.  RUNKLE,  Industrial  Committee,  School  Board,  Brookline . 

It  is  excellent  in  every  respect.  It  is  the  result  of  long  experience  in  the  class-room. 
I  have  seen  the  results  of  its  method.  We  need  the  book  itself  very  much  in  our 
schools,  and  I  am  sure  it  is  needed  elsewhere. 


From  RUTH  E.  LANDER,  Head  Ass't,  Wm.  H.  Lincoln  School,  Brookline,  Mass. 

This  method  of  teaching  sewing  was  introduced  into  the  schools  of  Brookline  four 
years  ago.  During  this  time  it  has  become  a  part  of  the  school  curriculum.  By  its 
method  the  pupil  has  attained  a  mental  training  equalled  in  no  other  department,  as 
a  lesson  in  sewing  includes  one  in  English,  Drawing,  and  careful  measurement. 


NEEDLEWORK. 


Teachers  in  the  regular  class-rooms  find  the  ability  of  pupils  to  grasp  other  problems 
increased  by  the  training  received  in  the  sewing  class.  Many  graduates  of  the  schools 
are  now  filling  responsible  positions  where  fine  needlework  is  required. 


From  HATTIE  F.  PAUL,  Assistant,  Sewall  School,  Brookline,  Mass. 

I  found  when  I  first  gave  the  finger  exercises  given  in  "  Progressive  Lessons  in 
Needlework"  that  the  children's  hands  were  so  weak  that  they  could  with  difficulty 
take  the  position,  and  after  two  or  three  repetitions  their  hands  were  so  tired  that  they 
shook  them  in  the  air.  At  the  end  of  two  weeks  they  were  able  to  repeat  a  movement 
seven  or  eight  times  without  fatigue,  also  they  had  gained  such  control  over  their 
muscles  that  when  I  suggested  a  new  position  of  the  fingers  they  took  the  position 
much  more  quickly.  After  the  first  week  I  did  not  notice  any  child  shaking  his 
hand  or  holding  it  in  the  other  hand  on  account  of  fatigue. 

How  did  the  children  like  these  exercises  ?  They  enjoyed  them  almost  as  much  as 
Emilie  Poul'.sson's  "  Finger  Plays."  They  were  as  still  as  mice  —  every  child  intent 
upon  the  movement  —  his  attention  fixed  —  his  mind  training  the  delicate  muscles 
to  obey  the  slightest  direction. 

I  would  not  care  if  my  children  did  not  sew  at  all,  if  at  the  end  of  the  year  they 
shall  have  acquired  such  a  suppleness  of  the  fingers,  that  they  are  able  to  make  all 
the  movements  required  in  sewing. 

It  is  easier  to  teach  the  right  position  of  the  hand,  than  it  is  to  correct  the  wrong 
positions  which  they  will  surely  take  if  allowed  to  go  to  work  too  quickly,  though  it 
may  take  time. 

When  we  see  the  inability  of  the  children  to  perform  these  simple  exercises  required 
for  correct  position  of  the  hand  for  holding  the  needle  and  thimble,  does  it  not  sug- 
gest that  we  could  use  some  exercises  to  advantage  preparatory  to  pencil-holding,  and 
thus  avoid  the  incorrect  position  which  children  take  ? 

Little  children  have  very  little  power  over  the  muscles  of  their  fingers,  and  yet  we 
require  a  great  deal  of  work  from  them.  We  give  gymnastics  to  strengthen  and  de- 
velop the  muscles,  and  to  counteract  the  inactivity  of  some  parts  or  the  over-work 
of  others.  Some  of  the  muscles  of  the  fingers  are  in  cramped  positions  by  holding 
the  p-ncil  too  long,  while  many  of  the  muscles  are  not  used  at  all,  and  yet  no  system  of 
gymnastic  has  any  exercises  for  the  fingers,  except  perhaps,  the  very  simple  one  of 
opening  and  shutting  the  hand. 

If  before  we  give  the  child  a  pencil,  a  pair  of  scissors,  or  any  tool  which  he  uses,  we 
give  him  exercises  to  strengthen  the  hand,  also  exercises  in  handling  small  objects, 
then  teach  him  to  hold  these  tools,  we  shall  avoid  incorrect  positions  of  the  hand,  and 
ret  better  work.  ••— 

The  "  Occupations  "  and  "  Finger  Plays  "  of  the  kindergarten  lay  a  foundation  for 
this  drill  which  is  needed.  If  the  primary  teachers  would  carry  on  the  work  with  the 
kindergarten  spirit  to  make  it  interesting,  and  a  definite  end  in  view  to  make  it 
valuable,  the  higher  grade  teachers  would  reap  the  results  in  better  pen-holding,  better 
position  of  the  hand  in  sewing,  better  pencil-holding  in  drawing,  better  work  with  the 
scissors,  and  better  results  on  paper.  (Jan.  9,  1894.) 


NEEDLEWORK. 


EXPERT   EVIDENCE. 

HARRIET  S.  SACKETT,  Dept.  of  Domestic  Art,  Pratt  Institute,  Brooklyn. 
It  is  decidedly  the  best  book  on  the  subject  ever  printed  in  English.     It  will  be 
most  helpful  and  suggestive  to  teachers,  and  I  shall  take  great  pleasure  in  recom- 
mending it  and  putting  it  on  the  list  of  books.  (Oct.  iS,  1893.) 


From  LOUISE  HOWE,  Supervisor  of  Primary  Sewing,  South  End  Industrial  School, 

Boston. 

This  book  has  been  of  great  service  to  me.  I  have  several  copies,  and  keep 
them  in  constant  circulation,  loaning  them  to  the  teachers  in  turn,  to  study  at 
home.  It  is  especially  valuable  in  this  work,  as  the  teachers  are  volunteers 
and  some  have  had  little  experience  in  teaching.  The  illustrations  of  darns 
and  pitches  have  b;en  invaluable.  Last  week  I  followed  the  suggestions  and 
had  two  classes  baste  paper  patches  with  great  success.  I  am  thoroughly 
convinced  that  the  sampler  work  is  the  best  and  most  satisfactory  for  begin- 
ners. Last  winter  after  studying  the  work  in  the  Lincoln  School,  Brookline, 
I  started  every  child  in  the  school  on  a  sampler.  The  results  were  very  gratifying. 
I  have  adopted  a  very  simple  form  of  sampler  on  unbleached  cotton,  with  red  thread  ; 
it  comprises  stitching,  felling,  hemming,  over-sewing,  over-casting,  bisting,  ruffle, 
buttonholes,  darn  and  patch,  also  name  in  outline.  In  all  cases  where  the  teachers  have 
taken  to  the  work,  the  children  have  been  much  interested.  I  think  almost  all  the 
teachers  approve  of  the  system  now,  but  at  first  many  were  skeptical.  This  year  I 
started  two  younger  classes  as  an  experiment,  having  them  make  a  canvas  sampler 
according  to  the  book.  I  have  been  so  much  pleased  with  the  work  that  another 
year  I  shall  have  more  of  these  classes,  giving  preference  to  the  younger  children  who 
apply.  They  will  make  the  cotton  samplers  when  they  finish  the  canvas.  For  public 
school  work  I  should  thoroughly  endorse  the  whole  system,  considering  it  a  great 
advance  over  the  old  methods.  (Jan.  13,  1894.) 


From  J.  C.  GREENOUGH,  Prin.  Normal  School,  Westfleld,  Mass. 
It   is   an  admirable  book  —  simple,  direct  and  progressive.     It  is  the  book  with 
which  to  teach  the  subject.         (March  8,  1894.) 

From  Mrs.  EMMA  EPLEY,  Teacher  of  Sewing,  Public  Schools,  Philadelphia,  Pa. 

I  have  been  very  much  pleased  with  the  book,  and  have  found  many  helpful  ideas 
in  it.  (Sept.  23,  1893.) 

From  Miss  MARY  A.  SPEAR,  recently  Principal  of  Model  School,  West  Chester 

State  Normal  School,  Pa. 

The  careful  study  of  Progressive  Lessons  will  not  only  fit  a  girl  to  do  such  work 
as  will  really  present  itself  in  her  home  life,  but  it  will  give  such  exercises  for  her 
hands,  eyes,  and  mind  as  will  increase. her  power  to  think,  and  to  express  thought. 
It  will  help  her  to  form  habits  ot  order,  exactness,  and  perseverance,  and  she  will 
be  better  fitted  to  do  and  to  appreciate  the  value  of  perfect  work  wherever  it  is  found. 


MUSIC. 


Whiting's  Public  School  Music  Course.  Six  books,  forming  a  complete  course  for 
each  c.ass  from  primary  to  highest  grammar  grades.  Books  Nos.  i  to  5,  Bds.,  each  30 
cts.  Book  No.  6.  Boards.  60  cts. 

Whiting's  Sixth  Music  Reader,  Girls'  Edition.  Designed  for  use  in  the  last  two  years 
of  trie  grammar  school,  girls'  high  schools,  young  ladies'  seminaries,  and  colleges.  60  cts. 

Whiting's  Part-Song  and  Chorus  Book.  For  high  and  other  schools.  Vocal  exer- 
cises ;  solfeggios ;  three-  and  four-part  songs  (for  mixed  and  female  voices) ;  sacred 
choruses,  etc.  Boards.  JSi.io. 

Whiting's  Young  Folk's  Song-Book.  A  text-book  for  ungraded  schools.  Boards. 
40  cts. 

Whiting's  Complete  Music  Reader.  A  complete  course  for  high  school,  academies, 
etc.  Boards.  85  cts. 

Whiting's  Music  Charts.  First  Series,  30  charts,  bound,  $6.00.  Second  Series,  14 
charts,  bound,  $3.00.  (Easel  for  Music  Charts,  $1.50.) 

Whittlesey  and  Jamieson's  Harmony  in  Praise.     A  collection  of  Hymns  with 

responsive  Biblical  selections,  for  college  and  school  chapel  exercises  and  for  families 
85  cts. 

Supplementary  Music  for  Public  Schools.  Eight  pp.  numbers,  3  cts.  Twelve 
pp.  numbers,  4  cts.  Sixteen  pp.  numbers,  5  cts.  Send  for  complete  list.  New  numbers 
are  constantly  being  added. 

Wilson's  Infant  School  Drill.  Exercises,  with  music,  for  the  healthy  development 
of  the  body.  32  pages.  Square  8vo.  Illustrated.  Limp  cloth.  25  cts. 

Sent  by  mail,  postpaid,  on  receipt  of  price. 


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READING. 


Badlam's  Suggestive  Lessons  in  Language  and  Reading.  A  manual  for  pri- 
mary teachcrt.  Plain  and  practical;  bting  a  transcript  of  work  actually  done  in  the 
schoolroom.  $1.50. 

Badlam's  Stepping-S tones  to  Reading.—  A  Primer.    Supplements  the  283-page 

book  above.     Boards.     30  cts. 

Badlam's  First  Reader.  New  and  valuable  word-building  exercises,  designed  to  follow 
the  above.  Boards.  35  cts. 

Bass's  Nature  Stories  for  Young  Readers:  Plant  Life,  intended  to  supple- 
ment the  first  and  second  reading-books.  Boards.  30  cts. 

Bass's  Nature  Stories  for  Young  Readers :   Animal  Life.    Gives  lessons  on 

animals  and  their  habits.     To  follow  second  reader.     Boards.     40  cts. 

Fuller's  Illustrated  Primer.  Presents  the  word-method  in  a  very  attractive  form  to 
the  youngest  readers.  Boards.  30  cts. 

Fuller's  Charts.  Three  charts  for  exercises  in  the  elementary  sounds,  and  for  combin- 
ing them  to  form  syllables  and  words.  The  set  for  $1.25.  Mounted,  $2  25. 

Hall's  HOW  tO  Teach  Reading.  Treats  the  important  question:  what  children  should 
and  should  not  read.  Paper.  25  cts. 

Miller's  My  Saturday  Bird  Class.  Designed  for  use  as  a  supplementary  reader  in 
lower  grades  or  as  a  text-book  of  elementary  ornithology.  Boards.  30  cts. 

Norton's  Heart  Of  Oak  Books.  This  series  is  of  material  from  the  standard  imagin- 
ative literature  of  the  English  language.  It  draws  freely  upon  the  treasury  of  favorite 
stories,  poems,  and  songs  with  which  every  child  should  become  familiar,  and  which 
have  done  most  to  stimulate  the  fancy  and  direct  the  sentiment  of  the  best  men  and 
women  of  the  English-speaking  race.  Book  I,  96  pages,  25  cts.;  Book  II.  268  pages, 
45  cts.;  Book  III,  308  pages,  55  cts.;  Buok  IV,  370  pages,  60  cts.;  Book  V,  378  pages, 
65  cts. 

Smith's  Reading  and  Speaking.  Familiar  Talks  to  those  who  would  speak  well  in 
public.  70  cts. 

Spear's  Leaves  and  Flowers.  Designed  for  supplementary  reading  in  lower  grades 
or  as  a  text-book  of  elementary  botany.  Boards.  30  cts. 

Ventura's  MantegaZZa'S  Testa.  A  book  to  help  boys  toward  a  complete  self-develop- 
ment, ^i.oo. 

Wright's  Nature  Reader,  NO.  I.  Describes  crabs,  wasps,  spiders,  bees,  and  sorn* 
univalve  mollusks.  Boards.  30  cts. 

Wright's  Nature  Reader,  NO.  II.  Describes  ants,  flies,  earth-worms,  beetles,  bar- 
nacles and  star-fish.  Boards.  40  cts. 

Wright's  Nature  Reader,  No.  III.  Has  lessons  in  plant-life,  grassnoppers,  butter- 
flies, and  birds.  Boards.  60  cts. 

Wright's  Nature  Reader,  NO.  IV.  Has  hssons  in  geology,  astronomy,  world-life 
etc.  Boards.  70  cts. 

For  advanced  supplementary  reading  see  our  list  of  bojks  in  English  Literature. 


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BOSTON.        NEW  YORK.        CHICAGO. 


DRA  WING  AND  MANUAL  TRAINING. 


Johnson's  Progressive  Lessons  in  Needlework.     Explains  needlework  from  its 

rudiments  and  gives  with  illustrations  full  directions  for  work   during  six  grades.     117 
pages.     Square  8vo.     Cloth,  Ji.oo.     Boards,  60  cts. 

Seidel'S  Industrial  Instruction  (Smith).  A  refutation  of  all  objections  raised  pgainst 
industrial  instruction.  170  pages.  90  cts. 

Thompson's  Educational  and  Industrial  Drawing. 

Primary  Free-Hand  Series  (Nos.  1-4).     Each  No.,  per  doz.,  Jfi.oo. 
Primary  Free-Hand  Manual.     1 14  pages.     Paper.     40  cts. 
Advanced  Free-Hand  Series  (Nos.  5-8).     Each  No.,  per  doz.,  $1.50. 
Model  and  Object  Series  (Nos.  1-3).     Each  No.,  per  doz.,  $1.75. 
Model  and  Object  Manual.     84  pages.     Paper.     35  cts. 
./Esthetic  Series  (Nos    1-6).     Each  No.,  per  doz.,  $1.50. 
./Esthetic  Manual.     174  pages.     Paper.     60  cts. 
Mechanical  Series  (Nos.  1-6).     Each  No.,  per  doz.,  $2.00. 
Mechanical  Manual.     172  pages.     Paper.     75  cts. 
Models  to  accompany  Thompson's  Drawing  : 

Set  No.  I.     For  Primary  Books,  per  set,  40  cts. 

Set  No.  II.     For  Model  and  Object  Book  No.  i,  per  set,  oo  cts. 

Set  No.  III.     For  Model  and  Object  Book  No.  2,  per  set,  50  cts. 

Thompson's  Manual  Training,  No.  I.  Treats  of  Clay  Modelling,  Stick  and 
Tablet  Laying,  Paper  Folding  and  Cutting,  Color,  and  Construction  of  Geometrical 
Solids.  Illustrated.  66  pages.  Large  8vo.  Paper.  30  cts. 

Thompson's  Manual  Training,  NO.  2.  Treats  of  Mechanical  Drawing,  Clay- 
Modelling  in  Relief,  Color,  Wood  Carving,  Paper  Cutting  and  Pasting.  Illustrated. 
70  pp.  Large  8vo.  Paper.  30  cts. 

Waldo's  Descriptive  Geometry.  A  large  number  of  problems  systematically  ar- 
ranged, with  suggestions.  85  pages.  90  cts. 

Whitaker's  HOW  tO  Use  WOOd  Working  Tools.  Lessons  in  the  uses  of  the 
universal  tools:  the  hammer,  knife,  plane,  rule,  chalk-line,  square,  gauge,  chisel,  saw, 
and  auger.  104  pages.  60  cts. 

Woodward's  Manual  Training  School.  Its  aims,  methods,  and  results;  with 
detailed  courses  of  instruction  in  shop-work.  Fully  illustrated.  374  pages.  Octavo.  $2.00. 

Woodward's  Educational  Value  of  Manual  Training.    Sets  forth  more  clearly 

and  fully  than  has  ever  been  done  before  the  true  character  and  functions  of  manual  train- 
ing in  education.     96  pages.     Paper.     25  cts. 

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. 

ENGLISH  LANGUAGE. 


Hyde's  LeSSOnS  in  English,  BOOk  I.  For  the  lower  grades.  Contains  exercises 
for  reproduction,  picture  lessons,  letter  writing,  uses  of  parts  of  speech,  etc.  40  cts. 

Hyde's  Lessons  in  English,  BOOk  II.  For  Grammar  schools.  Has  enough  tech- 
nical grammar  for  correct  use  of  language  60  cts. 

Hyde's  Lessons  in  English,  Book  II  with  Supplement.     Has,  in  addition 

to  the  above,  1 18  pages  of  technical  grammar.     70  cts. 
Supplement  bound  alone,  35  cts. 

Hyde's  Advanced  LeSSOnS  in  English.  For  advanced  classes  in  grammar  schools 
and  higu  schools.  60  cts. 

Hyde's  Lessons  in  English,  Book  II  with  Advanced  Lessons,  xiu  Ad- 
vanced Lessons  and  Book  1 1  bound  together.  80  cts. 

Hyde's  Derivation  of  Words.     15  cts. 

Mathews's  Outline  of  English  Grammar,  with  Selections  for  Practice. 

The  application  of  principles  is  made  through  composition  of  original  sentences.     80  cts. 
Buckbee'S   Primary  Word   BOOk.      Embraces  tho-ough  dril'.s  in  articulation  and  in 
the  primary  difficulties -of  spelling  and  sound.     30  cts. 

Sever'S  Progressive  Speller.  For  use  in  advanced  primary,  intermediate,  and  gram- 
mar grades.  Gives  spelling,  pronunciation,  definition,  and  use  of  words.  30  cts. 

Badlam's  Suggestive  Lessons  in  Language.     Being  Part  I  and  Appendix  of 

Suggestive  Lessons  in  Language  and  Reading.     50  cts. 

Smith's  Studies  in  Nature,  and  Language  Lessons.    A  combination  of  object 

lessons  with  language  work.     50  cts.     Part  I  bound  separately,  25  cts. 

MeiklCJOhn'S  English  Language.  Treats  salient  features  with  a  master's  skill  and 
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MeiklejOhn's  English  Grammar.  Also  composition,  versification,  paraphrasing,  etc. 
For  high  schools  and  colleges.  90  cts. 

Meiklejohn's  History  of  the  English  Language.  78  pages.  Part  ill  of  Eng- 
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Williams's  Composition  and  Rhetoric  by  Practice.  For  hi?h  school  and  col- 
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Strang's  Exercises  in  English.  Examples  in  Syntax,  Accidence,  and  Style  for 
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Huffcutt'S  English  in  the  Preparatory  School.  Presents  as  practically  as  pos- 
sible some  of  the  advanced  methods  of  teaching  English  grammar  and  composition  in  the 
secondary  schools.  25  cts. 

Woodward's  Study  Of  English.  Discusses  English  teaching  from  primary  school  to 
high  collegiate  work.  25  cts. 

Genung'S  Study  Of  Rhetoric.  Shows  the  most  practical  discipline  of  students  for  the 
making  of  literature.  25  cts. 

GOOdchild'S  BOOk  Of    Stops.     Punctuation  in  Verse.     Illustrated.     10  cts. 
See  also  our  list  of  books  for  (he  study  of  English  Literature,. 


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*', 


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